Xsong Is Back!
I’m Back!
So…after 4 years working part-time on this and 3 rewrites, I’m getting ready to release the beta of Xsong. I’m fixing a few bugs and completing the manual. I’m excited and sleep-depraved at the same time. Weird feeling…
The executable will be available in a few days. Meanwhile, you can download the manual draft (90% complete) and give me some constructive feedback by joining the XSong User Google Group:
groups.google.ca/group/xsong-users
Using Google Group will allow me to manage the beta process in a more interactive way. You’ll be able to report bugs and suggest features. I’m a big fan of Panic’s Coda, and this is what they use for support.
Yeah, this is very different to what’s currently posted on the main site, but I’ll get to it eventually.
Some Screen Shots From The Manual
The main work view in Organize (icons) and Edit (music) modes. Don’t worry, in both cases, you can get a list view, for those who prefer interacting with text.
The Edit work view zoomed out to reveal a complete song arrangement. I just love that view.
Back and front of a rotating song panel. The connectors in the back are used to automate the assignment of chord progressions. Lots of fun and useful.
Sequencing a bass line…visually. Makes sense? I’ve always wanted to do that.
Meet The Robot Guitar: Your New Songwriting Partner
Gibson Robot Guitar
A Minor Inconvenience
One of my top resolution for 2010 is to finally start using open tuning in my songwriting. The problem is that I don’t like constantly retuning, which is why I use locking tremolos. Combining a locking tremolo with medium light strings and a somewhat delicate picking approach means that I don’t have to tune for months. Exploring open tuning using a locking tremolo basically requires using several guitars, each with their own tuning or locking/unlocking the nut constantly. Not fun.
Tronical
In 2005, Chris Adams, a German professional guitar technician started Tronical to commercialize PowerTune, a robotic tuner system he had been developing the 10 previous years. The idea was to combine a piezo bridge pickup with motorized stepper motors embedded in the tuning pegs then use a small computer to communicate real-time tuning data trough the strings thereby activating the motors. That’s right: the strings are used as “wires” to send data to the robotic tuning pegs. Genius! Motorized tuning has been done in the past, but the Tronical system doesn’t require additional drilling or routing, which makes it almost invisible and preserves the original look of a guitar. The system, endorsed by Uli Roth (ex Scorpion) was sold as a 800$ boxed kit for users to install on their favorite guitar.
Here’s a 2007 video of the original PowerTune system installed on a Strat:
The Robot Guitar
Then in 2007, Gibson signed an exclusive deal with Tronical, removed PowerTune kit from the stores and released it as part of the Robot Guitar, a Gibson Les Paul Studio with the PowerTune system pre-installed. In 2008, they released the Dark Fire, which merged guitar modeling technology with improved robotic tuning. More recently, in December 2009, they released Dusk Tiger (a cousin of Apple’s Snow Leopard?), which further improved the system and introduced mixing of the piezo and regular pickups.
Check out this cool review video from WIRED:
The Future
Although Gibson has introduced a “Robot” version of its Les Paul, Explorer and SG models, this still leaves the other guitar brands out in the cold. Personally, I play Stratocaster derivatives such as Ibanez/J-Custom, ESP/Edwards and modern Fender Strats. So I sent an email to Tronical and they wrote me back confirming the news that an aftermarket kit would be made available this summer to accommodate acoustic guitars as well as any non-Gibson brands. That’s good news because I was contemplating buying a Robot Les Paul on EBay just to extract the tuning system and transfer it to another guitar. Sick, I know…
Boom Boom Satellites – Electronic Songwriters
If you’re into electric guitars, synthesizers and music production, you’ll love the Boom Boom Satellites. They’ve been around since 1990 and have always managed to create the most potent blend of danceable rock n’ roll on the planet. Don’t be surprised if you ear some Garbage or Orgy as they were the sonic prototype for these bands.
BBS use real live drums with cutting edge synthesizers, which makes everything sound extra large and urgent. No drum machine around here. This also helps make their live performances more interesting than 99% of electronic bands out there. See for yourself in the following video:
Structurally most of their songs start with elaborate intros and go directly to the chorus, which is a common practice in dance music. They then proceed to do all kind of permutations of verses and chorus with copious remixing tricks (filter riding, swellings, cross fades, beat replacements, etc.). The result is extremely effective and memorable.
Eleven Rack: The future of DAW Plugins?
Digidesign recently released their new 899$ Eleven Rack hardware product. Eleven Rack provides DSP acceleration of the Eleven guitar amp simulation plugin for ProTools LE and ProTools HD. In a way, it’s a replacement for the Line6’s Pod Xt Pro or Fractal Audio’s AxeFX rack units, but with tighter ProTools integration. Digidesign is following the footsteps of Native Instruments and TC Electronics by releasing hardware racked versions of DSP-hungry plugins.
Market Pressures
It’s no secret that lower prices and powerful multi-core native solutions are threatening the premium 10,000$+ ProToolsHD hardware solutions. By releasing dedicated boxes, Digidesign gets to accommodate low-end ProTools LE users while preserving the high-end ProTools HD market. The boxes are mass-produced in China, so they are just a cheap yet sophisticated dongle for the software. Very much like an iPhone. Genius!
I fully expect to see dedicated rack units for synths, bass & drum plugins. Guitars are first because there’s already a thriving market for such dedicated units. Being able to play live with the same box running the same program used for recording is a definite plus. Amp simulators have started to go beyond trying to emulate real amps and have started to produce sounds of theirown. The Fractal Audio AxeFX is the leading example of such approach.
Automatic Documentation
One feature that got me excited is that Eleven Rack can now save the plugin parameters in the metadata of an audio track (WAV & MP3 files can contain text tags). This means that plugin parameters can be recalled on a region-by-region basis. This form of automatic documentation of rack gear setting is something I’ve been wanting for years. The following video shows you how this is done:
Bye-bye Piracy
A rack version also helps in fighting rampant software piracy, which has affected many plugin authors. Apple are not affected by this since their core business is selling Mac hardware. The more users the better. Therefore, they can afford to reduce prices for Logic and remove complicated software protection schemes such as dongles. Software-only vendors are not as fortunate.
Physical hardware is here to stay. Get used to it.
Nick Troop – The Song Doctor
Nick Troop is a British doctor in psychology doing research on the effect of songwriting on human emotions. How cool is that? In his latest project he constructs the ideal David Bowie song by analyzing hundreds of songs. Obviously, he has no pretension of out doing Bowie using science and technology but the result is quite pleasant.
On his web site, you’ll find interesting statistical facts about Bowie’s lyrics. For example, it turns out that the words Bowie uses also seem to be related to how long his albums stay in the charts. Mhhmm, OK.
For his next project, the good doctor is looking for volunteer songwriters. Visit his research page to learn what it’s all about and maybe do your bit in the name of science.
Google Map As a Cute Toy Robot
Japanese folks love their privacy, sushi and…cute little robots. So Google Japan came out with this super-cute stop-motion animation of wooden toy characters to explain how they collect data in the land of the rising sun. The robot (let’s call him Snoop-the-friendly-robot), is seen removing all private information from photographs and obediently removing specific details when asked through a colorful telephone. Awwwww.
The theme music is appropriate and not too different from what you may hear while listening to Thomas the steam engine. I wonder if someone composed that or if it was automatically generated with one of those arranger keyboard so popular in Italy and Asia. Either way, it must have been fun to play and record.
See Japan? There’s noting to worry about. Google is not Godzilla.
Writing On The Bass
Usually, when we think songwriter, the image that comes to mind is one of an artist alone at the piano or playing an acoustic guitar. Yet interestingly, many bass players are the main songwriters for their band.
The best examples include:
- Paul McCartney (Beatles)
- Sting (The Police)
- Nikki Sixx (Mothley Crue)
- Tobin Esperance (Papa Roach)
- Marcus Miller (Miles Davis)
- Steve Harris (Iron Maiden)
- Phil Lynott (Thin Lizzy)
- Geddy Lee (Rush)
- Chris Squire (Yes)
- Mark King (Level 42)
- Trevor Horns (The Buggles, Seal, Art Of Noise, Franky Goes To Hollywood)
I think bassist have an advantage since they are the “glue” that keeps a song from falling apart. The role of a bassist is to support the chords played by the keyboard and guitar players, while following the drummer’s rhythms. As such they have a unique viewpoint of a song’s landscape. They have to keep the house standing while everyone else goes wild.
Switching instrument is a well-known way to explore new songwriting possibilities. Next time, try the bass and see what happens.
PS — Thanks to Sean for reminding me of Geddy Lee, Chris Squire and Mark King.
Recession Guitar
In these trying times, some have found new ways of rocking out in style on a budget. After introducing the initial Ikea Guitar, rogue luthier Zachary has discovered that a wooden chopping block could make a great budget Telecaster. I’m not sure about the symbolic meaning of slicing onions on a guitar, but it sure looks cool.
Tarja Turunen – Songwriting Transition
Here’s an interesting scenario: you’ve just been fired as lead singer for popular operatic metal band Nightwish. You are signed to Warner Gernany who sees your undeniable crossover potential. I mean Celine Dion/Sarah Brightman kind of potential. Which stylistic direction do you take on your next album? Metal, opera or pop?
If you’re Finland’s Tarja Turunen, you slowly move your fan base from the niche metal to something more mainstream and hope for the best. Her latest album, My Winter Storm is clearly a transition album and the songwriting reflects that.
In a Vacuum
Most of the songs were written by Swedish A-Ha-esque songwriting team Vacuum (Mattias Lindblom and Anders Wollbeck). Their style is more understated and laid back. To my ears, the Vacuum songs are missing the big choruses necessary for a worldwide pop hit. Gone are the wild guitar solos and progressive rhythmic mayhem of Nightwish. The songs were conceived to focus on Turunen’s immense vocal abilities. Like Kate Bush, she uses her voice for both lead vocals and background atmospheric pads.
Compare the pop opera Metal of Nighwish’s “Nemo” against Turunen’s more serene “I Walk Alone“:
Go West Girl
I hope that Warner give her the same worldwide promotion they gave to Celine Dion in the early 90’s. I also hope she gains access to a wider pool of songwriting talent. Scandinavia has a great songwriting pedigree, but I’d like to see what she can do with some west coast Dianne Warren-esque pop pieces.
Guitars As Art
I’ve always admired the work of master luthier Ken Parker. However, like many guitarists, I’ve always found his guitars to be too “out there” for me. Unlike bass players who are happy to indulge in all sorts of instrument shape, finish and electronics, most guitarists find comfort in 50-year old designs such as the Gibson Les Paul (1951) and the Fender Stratocaster (1950). Even relative newcomers such as Paul Reed Smith (1985) are in fact Gibson design derivatives.
Parker Guitars were sold in 2003 to US Music Corporation (makers of Washburns guitars and Randall amps) who quickly set out to broaden the brand user base by introducing cheaper Korean-made alternatives and more conventional instrument shapes.
The fruit of their latest effort can be found in the Dragon Fly, a morph between a Parker Fly and a standard Fender Stratocaster. I like the result and I wish they could get rid of those silly Piezo-acoustic pickups and put a real Floyd Rose tremolo in there. According to their web site, they have done just that with a Vernon Reid custom model, but there’s no indication about when these new models may be hitting the stores.
Parker guitars have always been expensive pieces of art, but they were the vision of a single man with no compromise to accommodate the various tastes of guitarists. The Dragon Fly is the first step in changing all that.
Naturally 7: No Instrument Required
Naturally 7 is a vocal “band” from New-York where every member plays an instrument with their mouth: mouth beat box, vocal bass, even an aural electric guitar. The amazing thing is that after a while, you forget that they have no instruments and you start getting into the songs.
Take a look at this impromptu performance of Phil Collins’ “In the air tonight” in the Paris subway:
For some reason, they have yet to make it big in the states, but they already have a couple of hits in Europe and are signed to a German record company.
Songwriting-wise, all they need is a multi-track recorder and something to write the lyrics. Right? Well, technically, they are playing vocal harmonies, which require some planning to work well. Basically, every band member plays one note in a chord, thereby producing the same effect as a keyboard or guitar.
Versailles’ Songwriting Aesthetic
My favorite band these days is Japan’s Versailles. They have yet to gain any traction in the US or Europe, but they are in many ways, a sign of things to come. Just like Finland’s Nightwish was the prototype for multi-platinum Evanescence, I believe that western bands will soon start raiding Tokyo for song ideas and looks.
Sound-wise, Versailles plays Visual Kei, a brand of symphonic metal that has been perfected since the mid-80’s by bands like X-Japan. Others would describe them as Dream Theater in drag (yeah, they’re all guys), but they are far more melodic than most progressive bands. For example, there is no unusual timing or chord structure. The level of musicianship is astronomical. Interestingly, they have no official keyboard player despite every song relying on synths and/or strings.
Melody-wise, they use a lot of traditional European top lines. Some melodies remind me of old Joe Dassin or Mireille Mathieu (60’s and 70’s French pop music). Makes sense, since French artists have always done well in Japan. I remember entering a Tokyo shop in 2001 to be greeted with some France Galles.
For all these reasons, I think Versailles is the most concentrated form or international influences I have ever heard. Melodies are back baby!
