Rites of Spring festival

I meet George Rolden at his home in Coatesville Philadelphia. Thanks to Jill Hughes-Kirtland (editor, usaprogmusic), who drove me to meet this old acquaintance of hers from the Progrock world, I arrive in time for George’s weekly radio broadcast of Prog Rock Cafe; equipment housed in the basement of his home.
George politely and magnanimously welcomed us in on this somewhat chilly December night. Under Jill’s advise we had packed our bags to stay-over at his humble abode; a long drive back up to Jersey just wouldn’t work in the thick snow.
I set up the vidcam on the topmost shelf of George’s bookcase as swiftly as I could so as not to interrupt his radio schedule. We were ready for the simulcast of Prog Rock Cafe and Sonicfreakz’s video interview.

George is an old hand in the progressive rock circle. As the president and promoter of ROSfest – Rites of Spring festival held annually in Gettysburg, Pennsylvania, he has made ROSfest one of the premier ProgRock festivals on the North-east region of America; this region being New York, New Jersey, Pennsylvania, Washington DC, Delaware.

George Roldan, promoter ROSfest and Shueh-li Ong

ROSfest began as the partnership between George and Tom Smith in 2004. Taking place “on the last weekend of April or the 1st weekend in May, the festival was held at the Colonial Theatre in Phoenixville, PA until 2007, and then moved to the Keswick Theatre in Glenside, PA as of 2008. The intent of the promoters was to establish a new progressive rock festival in the USA,” according to Wikipedia. Tom Smith is unfortunately no longer part of this operation and George now flies solo.

ROSfest has seem many ProgRock bands come through its gates. Headliners have included JADIS (UK), RPWL (Risettion Postl Wallner Lung – Germany) and Man on Fire (USA) at its 2004 inaugural festival, and thereafter, Arena (UK), Magenta (Wales), Satellite (Poland), Nektar (UK), Lazuli (France), Star Castle (USA), The Watch (Italy), Pendragon (UK), Ambrosia (USA), Circa (USA), Crack the Sky (USA), Spock’s Beard (USA), John Lee’s Barclay James (UK), and the star-studded lineup of Neo.
Pendragon makes a reappearance in 2010 along with Renaissance (UK) and Magic Pie (Sweden).

ROSfest headliner day 1 : Pendragon. (c)Progarchives

ROSfest specialises in NeoProg; which is symphonic rock with a more commercial format identifiable by its more melodious content as opposed to its complex classical cousin who spots an improvisatory nature. The splinter categories under progressive music is a growing list but could generally be said to encompass styles classical, folk/ethnic (Raga, Celtic), electronic, fusion, experimental, art, jazz, metal and of course rock. Philosophical, mystical and ‘mind-bending’ sonic undertones have also influenced the mind’s eye of various prog artists, giving birth to names of styles befitting the vision.

According to Progarchives.com, NeoProg, a subgenre of ProgRock, might have begun “with Marillion’s Script for a Jester’s Tear in 1983. Others contend it began with Twelfth Night at the dawn of the ‘80s … some even suggest” its primary influence was early ‘70s Genesis with frontman Peter Gabriel, pointing specifically to the album A Trick of the Tail as the initiator. (Watch Los Endos, a track from A Trick of the Tail performed at the 1976 concert and the 2007 concert.)

ROSfest headliner day 2 : Renaissance

ProgRock, which I have touched on briefly in my recent articles, is the mother of all prog music. Bands King Crimson, Jethro Tull, Genesis, Kansas, Pink Floyd, Yes, Rush, and ELP are generally considered to be vanguards of the movement.
Those who chanted the progmusic mantra wanted to break free from the structure of the ‘pop-rock song’ and promote a more artistic and technically challenging arena. In many ways, the title ‘progmusic’ has become associated with fast lines, clusters of sounds, odd time signatures, and epic length pieces that often seem to go on forever, eventually losing any semblance of shape and form; that is, at least to the untrained ear. For the progmusic novice, the teething period is gradual and often painful but rewarding at the end of the training.
Progressive music took place during a period of glorious creativity and technological feats. Instruments uncommon to the standard rock band (read my Moogmusic article and check out this short list) and elements from ‘ethnic’ music were brought into the musical fold for that extra spice. Even the humble orchestral flute was made worthy of playing progrock lead lines thanks to Jethro Tull frontman, Ian Anderson (video Thick as a Brick.) Other note-worthy prog flautists were Ian MacDonald of King Crimson and Andrew Latimer of Camel.

ROSfest headliner day 3: Magic Pie

Hardcore fans know that NeoProg relies heavily on keyboard and synth work. I am from this group of players so this fact appeals to me to no end.

It is at this juncture that I feel compelled to list some of the great players of ProgRock/NeoProg. This list, with links to youtube videos showing only a smidgeon of each player’s greatness, is by no means exhaustive : Mark Kelly of Marillion, Mark Orford of IQ & Jadis, Clive Nolan of Pendragon, Eddie Jobson with Jethro Tull during their more electronic rock period, Jordan Rudess of Dream Theater, Rick Wakeman of YES (somehow I managed to possess a copy of ‘The RW Chronicles’ — a video montage of his 1974 performance in Melbourne Australia), Tony Banks of Genesis, and Keith Emerson of ELP with one of my all time favourites; Brubeck’s Blue Rondo a la Turk.
Due to a lack of time and space, I’ve had to leave a few bands off this list. However it is interesting to note the inter-band relationships; many artists played in different groups simultaneously and/or left one and formed another with members from other bands at various times in their career. Cross-pollination is ‘progressing’ at work and a trend that still continues today.

All this talk about progmusic has made me reminisce about the time of my introduction to it. Thanks to friends who were just about living and breathing this music, my taste buds, cultivated by my teachers to only respond to classical and electronic music, were given a refreshing stroll on the other side of experimental; to bands such as Genesis, Mothers of Invention, YES, ELP, Tomita, Pink Floyd, Utopia, ELO, Mike Oldfield, Vangelis, Jethro Tull … Often absent on the progmusic list is the inimitable Kate Bush. In her Hounds of Love album (1985) her beguiling voice pulled me into a world of rich textures, torrid rhythms, ruminative lyrics, the Fairlight CMI, Linn drums, balalaika, didjeridu, fujara and uilleann pipes. I am a sucker for obscure instruments, great harmonies and ethnic languages so I was in musical heaven! I wanted to be just like her. Even Coldplay admitted to being inspired by Bush’s “Running up that Hill” when writing “Speed of Sound”.

As ProgRock slowly lost the drag race to Punk Rock in the late ’70s, its bands struggled to keep their footing. YES managed to hold on with Owner of a Lonely Heart a pop song by all standards (this video has both Kaye and Wakeman on keys). Genesis also succumbed to the ‘pop’ularity contest.

To those who assume that progmusic is only for the intellectual, I’d like to unmask its more glamorous side. Meet Glam Rock and its ostentatious twin, Glam Metal. David Bowie in the guise of Ziggy Stardust could be considered the epitome of this subgenre. Glam Metal aka hair metal, a term popularised by MTV in the late ‘70s/early ‘80s and basically Glam Rock suped-up with metal power chords, has endeared itself to the youth in Europe. Germany’s Tokio Hotel; their band members are in their early twenties, straddles Glam and Emo in androgyny, and the girls simply can’t stop screaming for more.

There is much fodder in Glam Rock for another story, so I shall leave you with this reminder;
ROSfest 2010 will be held this Friday 30th April to Sunday 2nd May. Tickets are available at the Majestic Theater in Gettysburg PA. Be there!

Footnote :

1) ‘Rite of Spring’ aka Le sacre du printemps is a ballet with music by Russian composer Igor Stravinsky. ‘Rites of Spring’ was an American post-hardcore band in the mid ’80s.

2) Calling all Southeast Asian prog bands, if you are a member of such a band I want to hear from you!

Video Clip #1 : George Roldan talks about Progmusic

Video Clip #2 : George Roldan talks about Prog festivals

Photos & videos (c) 2010 Shueh-li Ong (unless specified, all articles written by Shueh-li Ong bear the photography, videography and digital work of its author.

Singaporean blues-rock guitarist Rosli Mansor just released his sophomore instrumental guitar album, and his management scanned the review I published in my newspaper day-job and blogged about it, so I thought I’d link to the scan and blog post here. You can buy Rosli’s album from indie online music store CD Baby. We don’t get a commission here at Sonicfreakz if you buy it; just wanted to give the guy some props.

Tin Angel PA

A duo is probably the most efficient way to describe Francis singing and playing guitar, with Tom on keys. I have reviewed several acoustic shows in pint-size venues before. Some have outperformed my expectations, others just seem to fade into the noise of claustrophobia.

An innocuous stage setup lay before me at the Tin Angel in Philadelphia.
I had never seen Francis Dunnery perform until that night. I am of course somewhat familiar with Tom Brislin’s career. Mr Dunnery it seems has had a fairly illustrious musical career, being the frontman for sometimes rock, other times pop, but mostly ProgRock band It Bites during the ‘80s. It Bites had a fair amount of success including a #6 with song ‘Calling All Heroes’ on the UK Singles Chart. According to what I read online, his career also saw him hobnob with some significant names in the British ProgRock scene, such as Chris Squire and Robert Plant.
His most current projects are his solo performances and the recently formed New Progressives. The latter it seems, has as its mission, to develop a new approach to progressive rock.

Prog music has its roots in the British movement against pop and rock music of the late ’60’s/early ‘70s. Those who championed this style chose to push the boundaries in composition and live performance; hence the term progressive. Many iterations later, prog music has in many ways become more of a show than a movement. I would very much like the opportunity to sit down with Mr Dunnery to discover what he thinks he has added to the ProgRock repertoire; so Francis, give me a call.

In both of Francis’ current projects, you find Tom Brislin on keyboards. Highly sought-after in the prog community for good reason; he proved his mettle soon after leaving college by playing with artists such as Glen Burtnik, Meat Loaf, and Yes, even finding time to garner reasonable commercial success with his own (indie) band Spiraling. Tom has also pursued the solo route singing and playing keyboards. This inspired talent’s new career direction is worth keeping an eye out for.

On this snowy night in Midtown Philadelphia, The Tin Angel was packed like sardines. The opening act came in the form of ‘John and Wayne’. John Dunnery and his cohort Wayne Wilkinson, a duo from Cumbria UK, possessed the type of humour I immediately related to. I’m born and bred Australian and understand having one’s misfortunes turned into limericks and songs.

Francis Dunnery on guitar, Tom Brislin on keyboards

Time for the main event. I wasn’t sure what to expect from the lad who hailed from Egremont, Cumberland UK, and who now resides in the USA. But the Tin Angel had the right atmosphere to break the proverbial ice and the crowd warmed up almost immediately to Francis’ dry humour and ribbing, his lyrics about mid life crisis and the very real but oft left unspoken turmoil surrounding love and life; all wrapped up in the most likely musical vessel for these expressions; soft rock ballads.

But this I wanted to tell Francis with a smile, stop making fun of the toilets Down Under.

The parred down arrangement allowed some sensitive guitar playing by Francis and perceptive keyboard work by Tom to shine through. The duo will be playing at Steel City Coffee House in Phoenixville PA, Saturday 27th Feb and R H Tugs Waterfront Restaurant & Bar at Staten Island NY, Sunday 28th Feb. Shows start at 8:30pm on Saturday and 7:30pm on Sunday.

If this weekend’s gig is anything like the one I saw in Dec of last year, you’ll be hooting and howling along with Francis as he edges you on with his music and his wit. Not to be left out is Tom, equally entertaining in a supporting role as he is singing lead. I hope to catch the New Progressives live .

Video Clip #1 : Francis and Tom



Video Clip #2 : Francis & Tom, with opening act John & Wayne


Photos & videos (c) 2010 Shueh-li Ong (unless specified, all articles written by Shueh-li Ong bear the photography, videography and digital work of its author.

Taurus 3 bass pedal (c) Moogmusic

I wrap up my coverage on NAMM 2010 with a special article, special to me for many reasons. I am a music tech buff or geek as some like to call me. I can’t deny it, bad habit. I am also a history buff; I love to listen to treasured stories. I can’t refute that, and I won’t kick the habit. But most of all, I can’t deny that my love for playing music has enabled me to connect with people … and that leaves me eternally grateful.

1st day at NAMM – - I picked up my badge at the will-call station in the lobby of the Anaheim Convention Center. Had to place the printout which bore my name and Moog Music Inc, into the given plastic holder. Also printed on the badge was the letter ‘A’ in white which sat in the middle of a black square designed in the lower right-hand corner. ‘A’ – - stood for ‘artist’.
Why am I telling you all this? That’s because of the strange sensation that washed over me as I realised all curious by-starers would ‘recognise’ me as a Moog artist … and it made me want to get down on my knees.

I visited family when I caught up with the folks at Moogmusic. That’s how I consider them; family.

The name Moog (pronounced like ‘vogue’) is known for technology that has made music history. The home-grown company has stayed true to its roots by continuing to come up with fantastical products while keeping the legacy of its founder alive. Robert Moog’s inventions left an indelible mark in the sound palette of the world (read footnote) and thanks to their strong following, no product stays long as a number on the production line.

Shueh-li (Xenovibes' Return to Singapore Tour08)

R. A. Moog was the company under which 19 year-old Robert Moog (1953) manufactured theremin kits and his first foray into the business of making musical instruments. Despite a name change to Moog Music in the early 1970’s during which the Minimoog made its entrance into the world of analog synthesizers, the company was fraught with ownership problems and the founder had no choice but to leave. Bob, as he is affectionately known, remained true to his calling and Big Briar was formed in 1977/1978, building the Etherwave theremins that are now so fondly associated with him.
I am the proud owner of one of these as well as the EPro. Friends of Xenovibes know I play the theremin with my volume antenna inverted; the adjustment made for me by Bob himself.
Suffice to say, Bob reacquired the rights to operate under the name Moog Music in 2002, and thanks to him and his team of engineers, the rest is musical history.

A quick video perspective – - Here is Keith Emerson, notorious for his stage antics, and probably the first to take a Moog modular synth on tour, patch cords and all, in ELP’s Pictures At An Exhibition. Then we have Rick Wakeman on the Minimoog in The Six Wives of Henry VIII.
A number of history making electronic music instruments were born from the minds of genius inventors during the late ‘60s/early ‘70s; also known as the progressive rock period. ProgRock evolved in Britain and was analogous with the analog synth (no pun intended.) The Minimoog was a mainstay with this community, and when the ‘80s made its entrance, quickly became a pet of the New Wave movement as well. That is a whole other story I will leave to another day.

Chris Stack, Marketing Manager (c) Moogmusic

Anna & Nick Montoya, Kim Manning, Jason Daniello (c) Moogmusic

Back at the show floor in the Anaheim Convention Center, Amos Gaynes, whom I’ve had the pleasure of ‘working’ with; he fixed my EPro when it was damaged from a fall, prepared himself to walk me through the Taurus 3 bass pedal. I whip out my vidcam. The video has Amos more than aptly describe the Taurus 3 as a direct descendant of the Taurus 1 but with ‘extra’ features. So I won’t steal his limelight except to give you a brief history of the Taurus bass pedal.
In the beginning there was the Taurus 1. Manufactured between 1976 and 1981, it was a 13-note organ-style pedal board. It had a five-octave range, three preset sounds (Tuba, Bass, and Taurus) and one user-programmable “patch” (sound), all controllable using foot switches. Its timely production, like the Minimoog’s  was embraced by the ProgRock community whose artistic license demanded a certain je ne sais quoi (sonic and technical appeal) to their music. The Taurus 2 (1981 to 1983) had additional pedals, pitch bend and mod wheels.

At this point in my history lesson, I must mention the Moog family reunion aka the Endorsed Artist Reception, which took place in Suite 320 of the Marriott Hotel. Security had to be called in because there were just too many people?
The usual suspects turned up to celebrate Bob’s legacy at the booth, and at the reception with Michelle Moog-Koussa, Moog Foundation’s Executive Director and Bob’s daughter. The suspects included Anna and Nick Montoya of Volts per Octaves, Erik Norlander, John Payne (Asia with JP), Dean Parks (Steely Dan etc), Kim Manning (P-Funk), Aux 88, Ric’Key (Madonna), Orisha Pelzer, Jae Deal, Asher Fulero, Saul Zonana, James and Elizabeth Lewin (Synthtopia), David Rosenthal (Billy Joel), Alex Al (Jacksons), Herb Deutsch, Don Buchla, Stanley Clarke, Herbie Hancock and more. A Who’s Who list of photos can be found on the Moogmusic site.

Tom Brislin & Shueh-li Ong

That afternoon, and just before we headed over to the reception, Tom Brislin and I got on stage at the Moog booth to do a little jam. Tom on the Voyager, the Little Phatty and the Taurus 3 bass pedal, and me on my personal Etherwave with another Little Phatty, running my usual laptop rig. Linda Lafferty, Moog Music Sales Manager, tells me I was the only thereminist there. Thanks to Nick Montoya and Tristen Morin for getting us up and running amidst all the wiry chaos. (A little trivia; Tom and I played with our respective groups, Spiraling and Xenovibes at Moogmusic07 - video doc by Electronic Musician mag.)

But before I leave you with Amos and the mighty Taurus 3 bass pedal, I am told there are only a thousand units built. If you’re hankering after one, you had better pick up your phone and call one of these Moog distributors before they’re all bought up. I hope to have one for moi to test drive very soon!

Footnote:
The development of the Minimoog as a contradiction to the pompous and unwieldy modular monoliths was followed closely by that of EMS’s VCS3 from across the Atlantic ocean. Electronic Music Studios (EMS London) was trio Peter Zinovieff, David Cockerell and Tristram Cary.
Incidentally, Tristram Cary, composer and pioneer of music concrete, who happened to be my electronic music lecturer at the Elder Conservatorium graciously parked his equipment from EMS in a studio there when he moved from the UK to Australia. An example of how the VCS3 can be used is heard on The Who’s Won’t Get Fooled Again.
Not to be outdone by either party, the Aussies came out with the Fairlight CMI. Here is Herbie Hancock and Quincy Jones doing the Fairlight. I had the pleasure of using one in Melbourne Australia, while working on a short film score. A wind player who wasn’t quite cutting it had to be replaced by the Fairlight.

Video Clip : Taurus 3



Photos & videos (c) 2010 Shueh-li Ong (unless specified, all articles written by Shueh-li Ong bear the photography, videography and digital work of its author.

Thom Shepherd & Megan Linville At the Tin Roof, Nashville

Thom Shepherd is one of these down to earth musicians I’ve mentioned in my various articles. The kind so comfortable with themselves and their music they don’t try to please. They are just who they are; comfortable.

Thom wore a perpetual smile on his face for the 45 minutes we chatted in his office just off Music Row, and was accommodating in more ways than one. This two-times cancer survivor is unabashed about his brush with death; which he agreed was fodder for songwriting, his love for country music, and respect for his fellow musician and partner Megan Linville.

I made plans to meet Thom before I left Dallas to join Tom Brislin for the drive down to the music city. It was Rocky Gribble of the Grapevine Opry who suggested I give Thom a tinkle.
My week in Nashville was scheduled to be chock-a-block full, and just as I expected, Tuesday rolled up without so much as a breather. When Tom Brislin, his old school chum Dan Thomas and I negotiated our way to the Tin Roof where Thom and Megan were to do a show, the hands of the clock were about to strike the pose ’7′.
I had already attended a private viewing of the Nashville Symphony at rehearsal that morning, and interviewed three Steinway pianists at separate intervals in the afternoon. But my exhaustion was fleeing. I was to meet the person from whom I would glean a terrible secret. I was to pry from his knowing hands, the secret to writing an award winning song!

Megan & Thom

Originally from St. Louis, Missouri, Thom Shepherd has written songs recorded by various artists and is the winner of an Achievement Award from the Nashville Songwriters Association. He proudly boosts of three hits since his move to Nashville. The first, “Riding with Private Malone” was written before he even had a publishing deal. “Private Malone” which was recorded by David Ball, made it to #2 on the country chart. Thom was also responsible for “Redneck Yacht Club”, co-writing this second hit with Steve Williams. The song was recorded by Craig Morgan. At the time of this interview Thom had a Texas #1 three weeks in a row with “Beer Season” recorded by Kevin Fowler.

Yet, songwriting began as a sideline to the man who wanted to be a producer, filmmaker, even a director! It was in college in Virginia where Thom studied for a degree in communication. He also began playing music on the side. His gig schedule was so full that when given an internship in Washington DC, he turned it down. But this he did, he packed his bags for Nashville in the year 1993, around the time of the country music boom. There he got himself a day job, earning his publishing deal three years later.

I am not entirely new to the country music scene, having lived in Dallas for a fair few years and having had the honour of being the first thereminist and tin-whistle player to perform at the Grapevine Opry. I wrote and performed a Shueh-li original “Sweet Talker” for the show’s 21st anniversary. I am also not entirely new to the life of a musician and composer, but I had never considered devoting my life like Thom and many others, to writing songs for someone other than myself to sing! How brave I thought …

Thom has succeeded where many have not, and churned out hits by using his talent and intuition for good writing. Is success illusive or attainable? “Lots of hard work, you have to write a lot of songs to get a hit song!” he replied.
What is it about the lyrics that makes country music so appealingly real? It is rustic, raw and one can immediately relate to it. A great song can always be cast as a country song said Thom as he sites Dolly Parton’s take on the Whitney Houston song “I will always love you”.
Despite his success as a songwriter, he still plays at least a hundred gigs a year. He tells me that he writes songs so he has “something to play when I play!”
Megan nods in support. She works hard but admits that it is tougher being a female in the business. I can empathise with this sentiment. Many people find it convenient to label women in music as “chick singers”; often then not a euphemism for “the lady is just for display, does not have to do the heavy work, is probably not the brains behind the operation” and several other kind but misguided notions. Furthermore, sisters have to band together to support each other, yet we are sometimes ‘our’ worst critics.

The Tin Roof, Nashville

The five of us take a walk from Thom’s office back to the Tin Roof, where like true entertainers, he and Megan jump on stage and show us what country music is all about.
While Thom knows that his music stands out because of his perspective on life that comes out in his lyrics, Megan realises that unlike most other female country singers her voice occupies a lower register and that is her unique trait.
I am listening to Thom’s CD “Turning Point”. A must CD to check out for all y’all country music aficionados.

But hold them horses, we are still waiting for the recipe to writing a successful song, aren’t we? Well, aren’t we!

With Thom, Megan and me, were Tom Brislin and Dan Thomas

This I did not have to wrench from Thom. He generously gave it to me.
Thom’s Recipe for a hit song as paraphrased by Shueh-li :

Take a bag from your stash of ‘regular’ writing.
Always make each one a touching story.
Select the idea for the song from a title, hook or concept and work it in like you mean it.
Choosing the title or the 1st line of chorus as the hook is a good start. If in doubt, either one will make the song sweet.
Now mix in a bag of words forming the 1st verse.
Bring it around once (2nd verse).
Add a bridge to bind the ingredients together.
Top it off with a generous amount of the chorus remembering that the hook could be its 1st line.
Bake it in an authentic oven for as long as it takes to make it rise to the occasion.

Speaking of authenticity, being real is about being believable. To be believable, one needs to be very good at what one does. There are certain situations though where the stereotype doesn’t quite allow for a remarkable change.
Could I pull off country music? Thom did not want to hurt my feelings but was fearful that my asian persuasion might be met with raised eyebrows.
(Check out Darius Rucker of Hootie and the Blowfish, who has made quite a splash in country music, and, Grapevine Opry artist Marcus Leary; see article Take Me Home Country Road.

Standing out could, in fact, be your ticket to success. “Stay true to yourself.” is Megan’s word of advise. Thom’s successes were not the songs he thought would make it as hits either. “The stuff I like is usually not what’s on the radio. Everyone has something unique to offer. That’s what makes artists interesting. They are not just copying someone else’s style.”
The final word on the street is, write as often as you can, meet people and network. “Don’t expect them to come to you,” said Megan. And if I may add, the right time and place could just make your hard work and talent pay off!

Video Clip # 1



Video Clip # 2

Read Nashville; a Prelude to a journey into the 3rd coast for a list of articles about my trip to uncover the diverse nature of the music scene in the music city.
The 1st in the series is Nashville Symphony & the Maestro
The 2nd is It’s the Journey, not the Destination, Mr Valentine
The 3rd is Hungary for a Covenant
The 4th is Jazz artist Beegie Adair
This article ‘Hip hop and Honky Thom’ is the 5th. More to come!

Footnote:
So have you ever wondered how a songwriter makes money?
This is where the publisher comes in. A publisher who might be a company or individual signs you on to be a writer and/or pitches your songs. When your songs gets recorded, you get paid a mechanical license.
The industry standard is that the writer and publisher split the monies made from the sales 50/50. This arrangement is fluid especially in this day and age where we have deals that include digital downloads, ringtone downloads and more. It is up to you to shop around.

Photos & videos (c) 2009/10 Shueh-li Ong (unless specified, all articles written by Shueh-li Ong bear the photography, videography and digital work of its author.

Yamaha at the Marriott ballroom - NAMM 2010

Yamaha occupied an entire ballroom in the Marriott, a short sprint across from the Anaheim Convention Center.

I caught up with long time supporter of Xenovibes, Western Regional Manager, Frank Yardley who gave me a tour of the ‘booth’ beginning with my favourite department; the wonderful world of electronic wiz.

John Anthony Martinez, my Xenovibes partner, and I have toured in confidence knowing that no matter where we landed there was a Yamaha representative. When we arrived in NYC for Moogfest07 at B B King in the rain there was rep Eugeni with a DTXpress III. At the 2004 Xenovibes premier in Singapore, Yamaha Asia had a DTXpress II ready for our rehearsal. An O1X mixer/HUI complete with MLan and two 32-bit multi-effects processors was bought to record the show; an item I’ve since used faithfully on every CD. On the other end of the musical instrument spectrum, a Yamaha C3 concert grand was my instrument in my undergraduate years at the Elder Conservatorium …

John and I (Xenovibes) at BB King Times Sq NYC 2007

But then I digress. What can I say about Yamaha except it is a name associated with innovation and quality.

The movement from modular synths to the digital age, from a machine-like appearance to a more intuitive and aesthetically musical interface has been one of exciting times in the history of the development of the electronic musical instrument.

Xenovibes in Asheville NC 08

Xenovibes' Singapore Tour 08

Early synthesizers were experimental and clunky. The offerings from Moog and EMS in America and Britain respectively though, quickly changed our minds about what it could be like as a musician in the new age.
Yamaha’s humble beginnings was in the piano and reed organ industry in the late 1880‘s. The business grew organically, churning out many breakthroughs and successes. It also grew from the acquisition of technology companies, one being Sequential Circuits who were in financial woes when they were bought out in 1988/89. Sequential Circuits was founded by Dave Smith and Chet Wood who brought Midi into the world and made the first commercially available Midi synth; the Prophet 600, in 1983.

GX 1 picture (c) sound on sound

A decade before the Prophet 600, Yamaha had introduced the GX 1. Receiving intense interest, the GX1 was an analog polyphonic synth with not one, but four manuals, and featured one of my favourite accessory of all time; the ribbon controller. It can be heard on Stevie Wonder’s “Village Ghetto Land” and ELP’s version of Aaron Copland’s Fanfare for the Common Man (watch Keith Emerson in this video playing my fav arrangement of the work!)

DX7

The DX7 is undoubtedly its more well known (FM) synthesizer to date (John Chowning licensed his FM synthesis patent to Yamaha in 1975.)
This first digital synthesizer; more portable, more affordable – able to leap tall buildings – but definitely more stable, started popping up in schools and small ensembles on a tight budget; and threatened to take over the role of orchestral instruments and real people.

But the DX7 (released in 1983) wasn’t just an orchestral instrument substitute and when it was rescued by bands of the New Wave movement our ears were treated to a magical era and the power of frequency modulation.
Frequency modulation, unlike amplitude modulation (AM) is the synthesis of sounds via the modulation of a simple waveform aka the carrier fequency, giving you timbrally complex waveforms and tones

Question; those of you who remember the DX7‘s ROM cartridge, hands up!

Various artists have harnessed the distinctive sonic characteristics of Yamaha’s synthesizers. Jan Hammer used the DX7 extensively while scoring Miami Vice. Madonna , a-ha and Bananarama are said to have used it for bass lines in ‘Live to Tell’, ‘Take on Me’ and ‘Venus’ respectively. The E Piano appeared in Sade’s Smooth Operator.

Besides the popular Motif, Yamaha was also responsible for the TX81Z, the WX series wind controller and a whole plethora of instruments electronic, not forgetting their pro audio partners and traditional instruments such as their concert grand pianos endorsed by the likes of Chic Corea (AvantGrand Hybrid) and Alicia Keys.

So I could hardly wait to see what Frank and his associates had to show me.

We began with the Tenori-on a DJ tool that lights up on both the front and back sides, and is one of the cutest and smartest midi-able instruments I’ve seen so far. Using a 16×16 LED grid, one assigns instruments/tone pitches along its x-axis and note lengths/timing along the y-axis. It takes user samples and according to its manual can be “connected (via Midi) to a second TENORI-ON to allow synchronized performance, or to a computer to allow recording of the instrument’s MIDI output.” The Tenori-on comes in two versions, the White and the Orange. The video clip with a demonstration by Technical Sales Specialist, Allen Gore, speaks volumes.

Video Clip: Tenori-on




Next I move to the e-drums. Tom Griffin, Technical Sales Specialist together with e-drummer Zak Bond who is based out of Japan gave me a quick drum-through of what makes the new machine extraordinary. Their DTX 900 series of e-drums, Tom Griffin tells me, is the ‘answer’ to requests from users on the Yamaha forum. The 6 piece kit is expandable to take on 4 more triggers. Pads have a new head surface made from textured cellular silicon for a more realistic feel. They are shock mounted and free floating to reduce cross talk and increase sensitivity. The brain/module has the ability to control Cubase ai5, which is bundled with the new kit. The brain /module is the former DTXtreme III with an OS upgrade. More specifications can be seen in the video and found online.

Video Clip: DTX 950K


What i felt upon being introduced to the Yamaha CP1 keyboard was, here was an instrument that leveraged Yamaha’s expertise in designing and building acoustic and electronic keyboards, and that showed off a few of the more significant technological contributions they themselves made through the years; technology still being sought after even today.
Under the hood of the CP1 you will find Yamaha grand pianos CF IIIS and S6B. Thanks to Spectral Component Modeling, you can even be your own technician and tweak the hammer action; want it soft or hard? For those hankering after the TX81Z and DX7 sounds, this is your lucky day for the actual FM tone generator is built into the CP1!
Yamaha also recreated various Rhodes tine pianos whose hammer positions can be changed. Through ‘virtual circuit modeling’ effects such as phasing and flanging can also be tweaked.
To top this off, a fine selection of reed pianos.
The CP1 as demonstrated by Blake Angelos, Product Specialist, came complete with the NW-stage technology (acronym for new wood action) the playing surface that included synthetic ivory, and that was a hybrid between the feel of an acoustic piano and the rhodes. Watch the video as Blake shows off the variety of ‘pianos’ sampled to satisfy the fussiest keyboard player. (Extra reading in this pre NAMM video in Keyboard Magazine)

Video Clip: CP1 Piano

Just when you thought there was nothing else one could bring to the acoustic drum, we meet the new kit on the block. Marketing Manager Dave Jewell was on hand to demonstrate the drums built for the budding rock/heavy metal drummer.

Video Clip: Rock/Heavy Metal Kit


Where to next is the question lingering on my lips. Maybe Yamaha will have something ew for us at Summer NAMM?!
Prices for the products featured in this article available through Yamaha’s worldwide distributors.

Photos & videos (c) 2010 Shueh-li Ong (unless specified, all articles written by Shueh-li Ong bear the photography, videography and digital work of its author.)

Beegie Adair, Jazz pianist and recording artist

When I sat down with Beegie in the recital hall of the Steinway Piano Gallery in Nashville, I found myself a kindred spirit. I’ve had the privilege of meeting a few such people in my travels.

Within minutes of exchanging pleasantries, including details of each other’s musical aspirations and the such, I noticed we shared similar thoughts on many issues related to music. Beegie became my buddy the instant I found out she had heard the theremin; “they used to make theremin records when I was a little girl!”

Beegie aka Bobbe Gorin (B.G.) Adair, has seen jazz grow from a niche category in a music store to something more egalitarian, thanks to those who have had through generations, massaged their artistic persuasions into the music, much like one would rub spices culled from around the world into their cooking.The romanticised idea as portrayed on the celluloid screen is often the version that comes to mind when the word “jazz” is dropped; you know, walking into a club and being greeted by that intoxicating voice that would sustain your attention into the night … falling back into a plush chair to watch smoke rings intertwine, time ebbing in slo-mo.

Jazz originated from the Mississippi Delta. But ragtime did a modal on it, and Black Orpheus mysteriously samba-ed its way into its soul. When jazz thought con-fusion was cool, a series of permutations was necessary to reintroduce it as a form where all music is permissible and nu again. I encourage anyone just discovering jazz to do a brief review of its histor, then find as much material to listen to as possible.

Beegie recently embarked on a solo-duet project where she got to work with divergent styles, including music by Hank williams, Stevie Wonder and more.
She does not hesitate to remark that the music does not fall in any category. I am of the mind that the lines have blurred because people from all walks of life have come together to explore each other’s musical talents. I feel proud to be one from such a group. (Friends of Xenovibes are familiar with the ideal we champion where ‘disparate musical souls coming together in a stream of consciousness exchange’.)

Beegie and I agree that music of the world is undoubtedly folk music (which jazz is a part of), and that folk music and the oral tradition wear the same hat where obeisance of rules given by the master is its true nature. Learning by rote ceases when the student becomes the purveyor of his/her master’s style. Read any artist’s bio and you will find names of teachers with whom, and institutions at which, they have studied.

Most songs released these days seem to fall under the Pop category; maybe this makes it more commercially viable? But the duration in which one pursues a specific genre is inevitably how one’s music is labeled. I began in the classical field then ventured down the road experimental before heading up the avenue of pop, detouring along the way, but always keeping between the lines of esoteric and mainstream. OK I admit with a grin that I did do the cover band thing (chuckle.)

Beegie is an associate professor of jazz studies at the Vanderbilt University in Nashville, while her husband heads the jazz and folk department. She tells me that the market has been changing, and students wanting to study music have other pressing needs. She cites the example of a string player coming in who might be playing with Disney World, and need skills to enable them to think on their feet.

She recounts the days when she would be put in front of a keyboard/synth at a recording studio just ’cause she was a piano player. The synthesizer is an entirely different animal from the piano, especially as the pianist has certain expectations of its action and feedback. When Robert Moog made black and white keys the input device on a synthesizer, he gave the pianist the power to change the world but at the same time created some confusion among many.

Beegie is no stranger to new instruments coming up with new sounds and new music. She listens widely and considers this exercise a good study of what the world has to offer. “The world (music) has certainly expanded” I say. She recommends the 2005 Roberto Benigni movie “The Tiger and the Snow/La Tigre e la Neve” and the voice of Tom Waits. In the movie, a literature professor is in love with a writer; the subject of a recurring dream. Each time the dream takes place, Waits who appears with the band sings ”You Can’t Hold Back Spring”. Well, I was introduced to the very distinctive Mr Waits in Melbourne a few years ago, and knew I would never forget him.

"As Time goes By" pic of the CD courtesy of the Beegie Adair Trio

Beegie performs with bassist Roger Spencer and drummer Chris Brown as the Beegie Adair trio. They can be found at their playground, F Scott’s in Nashville, every Thursday, where you might just find them developing material for an album. They play from the American song catalogue, making arrangements as they go along.
In my recent correspondence with her, Beegie informs me that they just recorded a live concert album, to be released in the Summer of 2010.

So what should young jazz musicians be developing as part of their study? Topping her list is a good classical education, and then this: that should one be interested in learning a tune, “listen to at least five different versions of it; the world needs you doing your own thing not a clone.”
… Touché!

Read Nashville; a Prelude to a journey into the 3rd coast for a list of articles about my trip to uncover the diverse nature of the music scene in the music city.
The 1st in the series is Nashville Symphony & the Maestro
The 2nd is It’s the Journey, not the Destination, Mr Valentine
The 3rd is Hungary for a Covenant
This article ‘Beegie Adair’ is the 4th. More to come!

Video Clip : Beegie discusses the state of jazz with Shueh-li

Video Clip : Beegie talks about Jazz idioms

Photos & videos (c) 2009/10 Shueh-li Ong (unless specified, all articles written by Shueh-li Ong bear the photography, videography and digital work of its author.

House concert in CA

The idea for house concerts is neither a new fad nor the latest. Most of us are familiar with the concept of patrons of the arts opening their homes to artists of the classical music persuasion.

These patrons host a private event where friends are entertained, and have the opportunity to mingle with the artist(s). The chance to get intimate with the artist(s) while they spin an exotic yarn or two is often the real reason these musical soirées have ample attendance, and why a reply to Répondez s’il vous plaît is never tardy.

House concert in CA

In America, the trend for house concerts by mainstream – pop artists has become a ‘household’ name, to a point where societies in support of this activity have sprung up to provide helpful hints for hosts and artists alike.

Though many have claimed to be the first to host such an idea, one could probably blame a Pat DiNizio and his ‘Living Room Tour’ for being the first artist to initiate the modern version of the musical soirée. It seems Pat’s 5-month long house concert itinerary in the year 2000 saw him perform for over 70 Smithereens fans across the US, delivering solo acoustic shows at the home of some of them for a nominal fee.
Most established artists still prefer to be remunerated according to their fan pull and reputation, with many fans eager to cough up a sizable ‘tip’ for a front row seat in a setting where they literally rub shoulders with the artist, well aware that a hundred dollars could only buy them the back row at a typical gig, or an obstructed view of the stage thanks to rowdy fans.

Many artists have begun to incorporate the house concert idea into their tour itineraries, much to their fans’ delight, accepting this as a means of promoting upcoming gigs, rather than playing against promoters and venues who have, in the past, discouraged performances within a certain radius from the venue and/or timeframe of a major gig.
Many hosts have also turned regular. There is not only a fine line between hosting a house concert and presenting a show, but, the modern soirée has the host gather donations from guests for the artist instead of engaging the artist for a private event. It is important to note local ordinances governing live performance events, so before you go out and publicise your intent, check with your local officials.

For the artist, the benefit is in creating an immediate connection with fans. The guests can cozy up in a non-threatening way. It’s a win-win situation and both parties feel a real sense of investment.
There is much about house concerts online so I shall not duplicate the information.
Instead I’d like to share, in the form of short and simple documentation, how I prepared for my first solo-gig by reducing my show rig to something I could fit in my carry-on bag along with my clothes, and working with a living room instead of a concert stage.

I had the benefit of delivering my first house concert in California, thanks to old friend Mike Brunt. A long time fan of my musical work, Mike agreed to host my solo show-and-tell in his beautiful living room draped in his paintings.

For the artist, the trick to planning a house concert is in my humble opinion all about versatility. Just a few days ago, I propped up my Etherwave on a pile of novels on the dining room table at the San Jose home of another friend Bill Stewart.

A major consideration is whether to go acoustic or amplified. I went with the latter due to the electronic nature of my musical arrangements. As friends of my music know, I perform with the theremin, tin-whistle and synthesizer, and I sing on many of my/Xenovibes pieces. Mike had a home entertainment system (HES) and, a light weight PA system that came with a 4-channel amp/mixer. A simple FX send/return was provided on the amp/mixer where the user dialed up the timing (rate) and feedback amount of the delay by ‘feel’ since there were no numerical markings.

I had initially thought of using the width of the living room with the PA and its speakers positioned on either side of the main window, but the room which reflected Mike’s personality was so beautifully put together, I decided to do the Ninja thing and go with the flow. Learning how to think outside the box can be empowering. Improvisation is not for the beginner nor faint-hearted, so arm yourself with the necessary psycho-acoustical and technical understanding such as that of your equipment before heading out the door!

The setup I had brought with me before I changed tactics, involved running a selection of backing tracks featuring songs from the 3 Xenovibes CDs, through Logic Pro (I have version 8.) Depending on what I had configured for each song in LogicPro, I would activate (put into record) softsynth tracks to be played on Mike’s Axiom midi controller, and/or one of two mono audio tracks for the theremin and the tin-whistle/voice configured with various plug-ins.
In terms of hardware connections, I was to run the theremin into the Line-In of the ONE by Apogee electronics and play the tin-whistle/sing through its built-in condenser MIC. I was to toggle between the two input devices during the concert, via my Macbook Pro’s ‘system preferences’ under ‘hardware/sound’ by selecting either ONE:Inst or ONE:Ext Mic. The ONE handles one input signal at a time, hence the name. The ONE and the Axiom were both connected and powered via USB.

When I opted out of using the PA and into the HES, the positive outcome was no heavy furniture needed to be moved or removed, and the personality of the room remained intact. I began by initiating a sound test of the HES. I wanted to be sure it had a pleasing enough tone to embrace the music I was to put through it. I moved the staging to the front of the TV and where the HES was already hooked up, and appropriated a channel from the amp/mixer for the microphone I was to use for the tin-whistle/voice instead of the ONE. Less fiddling with system preferences (I left ‘hardware/sound’ input at ONE:Inst) and more quality time for my audience.

The room was ‘live’ to some extent with its wooden floors and glass windows, so I allowed the tin-whistle’s brazenness to sing out sans amplification much of the time. I was heavy handed with the amount of delay on the mic, making the wet to dry ratio about 100% to 30% so that whatever the mic picked up embellished the live (un-miked) signal. There was not much I could do to isolate the mic from the surrounding reflections, so keeping the signal low and EQing the channel helped with feedback and other such inconveniences.

To finish off the setup, I returned to ‘hardware/sound’ under ‘system preferences’ and selected as the output ‘ONE:Stereo’. My backing tracks and the theremin from LogicPro were routed via the ONE’s headphone out into the AUX IN of the amp/mixer with a stereo mini phono to RCA cable. The REC OUT mix from the amp/mixer which now included the effected microphone signal was routed into the AUX IN of the HES using a stereo RCA to RCA cable.
I turn up the volume. To tune the room, I call up the mix output of LogicPro, select channel EQ to cut frequencies below 57Hz and slightly boost the 3.5Khz range.

Voila! I was ready to rock n roll.

Video Clip #1 of 3 : Shueh-li talks about how she put the theremin in the mix in an unconventional way and tuned the room where she performed her solo house concert.

Video Clip #2 of 3 : Shueh-li walks through her software and hardware routing in her solo house concert.

Video Clip #3 of 3 : Shueh-li briefly explains how she set up her theremin with plug-ins in Logic Pro for her solo house concert.

Photos & videos (c) 2010 Shueh-li Ong (unless specified, all articles written by Shueh-li Ong bear the photography, videography and digital work of its author.)

MikTek tube mics

I felt like I had made a lucky find when I finally stumbled on MikTek tucked in a corner at NAMM 2010.
This company from Nashville, TN was founded on the notion that tried and true technology should be at the heart of one of the most important assets of a recording studio.

Many consider appointing the services of a recording studio based on the sound desk or DAW used.
Whatever floats your boat I say, but the consensus from a recent conversation I had with Tom Brislin about the humble microphone was that there is indeed one made for every voice. The asset I am referring to is clearly the microphone and its heart according to MikTek is the vacuum tube.

The knowledge required to select the right directional or polar pattern and frequency response plays a huge part in the use of a microphone when one is particular about recording the voice, and there is a vast range of microphones to chose from. Yet there is no denying that when the right one is placed in front of you, how it enhances your voice is immediately apparent.

Released late 2009, the three precision condenser microphones MikTek showcased at NAMM were the C7 dual large-diaphragm FET condenser (3-pattern omni), the CV4 large-diaphragm multi-pattern tube condenser (with an original ‘NOS’ new-old-stock Telefunken EF800 tube), and the C5 pencil condenser sold as a single or matched-pair which according to their engineer is great for overhead miking.

I have on many occasions had the pleasure of using one of the more popular tube mics in recording history, the U47. Released in 1947, the Neumann U47 was one of, if not ‘the’ vocal mic of choice of many recording artists and even now has undeniable prestige in a recording studio. Nostalgia is worth revisiting especially when it has had a proven track record, and the tube mic has certainly found a place in the ‘hearts and minds’ of many studios.

Are MikTek’s tube mics comparable with those of its forefather? According to the website, their components are sourced from top manufacturers in the US, Europe and Asia. Assembly of the microphones are done at their factory in Nashville and as part of the development process, tests are conducted by members of Nashville’s community of recording engineers and producers. I have met with some of these people in the community from a trip I made to Nashville in November 2009 and can say that they take their music business seriously.

The C7, CV4 and C5 are certainly beautifully crafted and of the little that I heard in the demo area, their performance might just match their looks; ultra-thin Mylar diaphragms with evaporated gold for their microphone capsules.

Looks should really take a back seat to quality in assessing a microphone, and I am definitely ‘looking’ forward to testing the MikTeks in a real life situation!

The C5 is priced at US$599/single and US$1,299/pair, the C7 FET at US$899 and the CV4 Tube US$1,299. Worth the consideration if you are in the market for a tube mic.

Video Clip:

Photos & videos (c) 2010 Shueh-li Ong (unless specified, all articles written by Shueh-li Ong bear the photography, videography and digital work of its author.)

myMix personal monitoring system (pic courtesy Movek LLC)

Just when you thought you had reached a dead end with personal monitoring, myMix appears in the nick of time to save us all from pulling out what’s left of our crowning glory.

The myMix uses a standard ethernet hub (externally powered or using the power-over-ethernet switch), is compatible with the AVB protocol and links up to 8 units on a network at 16 channels each. You can store up to 20 profiles or personal mix settings all viewable on a colour LCD screen. It comes with a mic stand adaptor to mount the unit. Convenient and easy to use so far.

So what exactly could the myMix give that other similar units don’t already? Well let me list just a few that stood out; these are not in order of ‘greatness’.

Each channel (instrument) can be muted or soloed. Many a time I would have liked to have been able to audition my synth, you know, solo my channel to make sure I have all the correct setups, perhaps run through a few tricky lines while waiting for the band to get ready. And to be able to mute instruments I don’t want in my mix without actually turning down their level then having to turn them up again at a later time. Efficient.

You plug your instrument(s) directly into the unit. The two inputs provided can be configured as a stereo pair (if you have a L+R feed from a keyboard for example, the pair is recognised as one instrument), two discrete mono inputs (a singer also playing guitar) or a single mono input. The unit has built-in phantom power for a condenser mic.
In effect you are in charge of setting up your own instrument, input gain and all. Freedom comes with a price, so no whining allowed. (The video provides additional setup info.)

Musicians who like to hear themselves in a particular effected mood during recording, will not have to badger the engineer for that ‘wet’ single that only they understand they must have to perform better. The on-board reverb/delay as well as EQ adjustment give the musician the power to tweak to their heart’s content, while the engineer spends valuable paid studio time getting a good sound/signal to ‘tape’.

The Godsend is the built-in SD or SDHC card slot which allows the individual to record their personal mix as 16 separate tracks of 48-kHz, 24-bit.wav files, plus a stereo mix to take away, all time-stamped so they line up when imported into one’s DAW of choice to overdub or remix!
Not needing to have the house or studio engineer provide a copy (or multiple versions) of a rehearsal(s) for everyone in the band to take home, and still have disgruntled musos wishing they had a mix where they could hear their parts (or specific parts) above the rest, is closer than you think.

The myMix has a MAP in the U.S. of $499 and an SRP of US$599. Now all it needs is a beam-me-up-Scotty button and I will be contented! I look forward to giving the myMix a real test when they are ready to be taken on the road!

Video Clip :

Photos & videos (c) 2010 Shueh-li Ong (unless specified, all articles written by Shueh-li Ong bear the photography, videography and digital work of its author.)