Sunday, January 05, 2014
This blog has been moved.
Hi all -- for any posts from here on out, please visit www.earspasm.com/blog
I won't be posting (or cross-posting) to this blog starting in 2014.
Thanks, and thanks for visiting!
Mike
Wednesday, September 11, 2013
The State of Music Education
I think most people know my opinion, but I'll add a few words here. If we think of conservatories as "trade schools" (like where you would go to learn to be an auto mechanic or repair a refrigerator -- thanks Tom), we are teaching our students the equivalent of learning to repair a car from 1940. Is that a carburetor? No? Well, I only know how to work on carburetors, not fuel-injection systems. And what's a Hybrid?
Yes, schools are primarily interested in protecting their own viability. They are a business after all, with budgets, halls to maintain, faculty to support (who need and deserve raises), cafeterias to manage, etc, etc. But there is a solution -- the problem is that it is not an incremental solution. Sure, adding a jazz program, or a songwriting program, or forcing everyone to learn to improvise or compose or take a business class, is good and important. But the culture of learning within the walls of the institution must include EVERYONE, not just the students. The FACULTY must continue to hone their skills (not to point fingers, but does your teacher know how to improvise? Or compose? Or play Balkan wedding music? Or release a recording on the Internet? Or create and manage their social media presence? Or play with electronics? Or manage a concert series? Or market their quintet? No?)
But even better, here's what you can do today: you can take control of the situation yourself. Use the schools to do what they do best: USE THEM TO LEARN YOUR CRAFT. Practice your ass off because you don't have to prepare for a physics final. Form a group. Record a CD. Learn Photoshop. Cold-call a presenter. Buy a Jamie Aebersold book and learn to read changes.
Just because you aren't learning that in a class doesn't mean you can't take the initiative. And then, when you are a teacher, you can teach your students these skills. And CONTINUE LEARNING YOURSELF. Stay viable. Move with the changes in the business and the art. Don't sit back and figure "well, I went through my training, and now I have this gig, so I'm just going to teach what I was taught 5, 10, 30 years ago." Who knows what music will be like in 20 years? So prepare yourself for a life of learning, and you'll be ready when that time comes.
To paraphrase a former US president: "nothing is wrong with music education that can't be fixed by what is right about music education" -- or "ask not what music education can do for you; ask what you can do for music education." -- or some such shit. But whatever.
We can fix this. Lord knows I'm trying. What are you doing? Let's do this together.
Sunday, June 30, 2013
Air pressure vs. Air support. Two separate things.
I got a great question in the mail today.
I've heard this before, and I think it's a bit confusing. Here's how I responded:
So I'll say it again. Air Support is always constant. Air pressure isn't. It's the first step to expressive playing to understand the difference!
Perhaps you might explain a concept that's always puzzled me: the "warm" vs. "cold" airstreams and the idea of air volume and air pressure as two, distinct and separate qualities that affect tone quality. Thanks!
I've heard this before, and I think it's a bit confusing. Here's how I responded:
Regarding the "warm" vs. "cold" air, I'm not exactly what that concept means to be honest. I don't think of things that way. But the notion of air pressure and air volume (actually I say "air support" or "air availability") is spot on. Your support — which comes from your diaphragm flexing whenever you play — never wavers. The pressure, or speed, that you blow into the instrument does vary, and it should. Imagine a violinist only playing with one bow pressure, and well, you can imagine how boring that would sound. Same goes for wind instruments; the wind is our bow.
Finally, embouchure pressure is also something I vary, but that's when I'm trying to get a certain effect with the sound. Loose embouchure is something great to put into your arsenal for Jazz or even Contemporary music. But, it's an advanced skill that I don't teach to students, because I don't want to confuse them.
So I'll say it again. Air Support is always constant. Air pressure isn't. It's the first step to expressive playing to understand the difference!
Monday, June 03, 2013
Do you have a palatal leak (aka Velopharyngeal Insufficiency)?
What a pain in the nose. Or the back of the throat. I will come out and admit it: I had this problem (and still do from time to time).
What is it? It's when, after playing for a while, you can't keep air from leaking out your nose (instead of going through your instrument). There is very little written online about this problem, and even less about solutions that don't involve surgery.
I went through a year or two of doctors sticking cameras up my nose and into my throat to watch me play (I'd post the videos but they're gross). I even went so far as to evaluate surgery.
Luckily I didn't have the surgery, because when I contacted Julianne Kirk Doyle, a clarinet professor at SUNY Potsdam in New York, she had what ultimately was the solution.
Here is her story, and the solution that worked for her, for her students, and for me.
What is it? It's when, after playing for a while, you can't keep air from leaking out your nose (instead of going through your instrument). There is very little written online about this problem, and even less about solutions that don't involve surgery.
I went through a year or two of doctors sticking cameras up my nose and into my throat to watch me play (I'd post the videos but they're gross). I even went so far as to evaluate surgery.
Luckily I didn't have the surgery, because when I contacted Julianne Kirk Doyle, a clarinet professor at SUNY Potsdam in New York, she had what ultimately was the solution.
Here is her story, and the solution that worked for her, for her students, and for me.
I first experienced the air leak on my Masters Recital at Eastman. I played a fairly taxing program, was not in the right resonant part of the stage (thought I wasn't projecting) so ended up overplaying on a reed that was a little stiff, and on the last page of the Rigoletto fantasy, the soft palate went...just air leaking out my nose and I couldn't do anything about it. After that happened, for days it felt like I had gotten chlorine up my nose. Upon reflection, I realized the importance of proper breathing and fundamentals as they pertain to playing and revisited how I approached some things.
I also started taking yoga and learning to control the palate through breathing and eventually while at rest as well as while playing. This is been an endurance key for me when I feel in certain environments and with certain reeds, that my palate might go (for the record it hasn't since 2003!) Often when we are playing, even while resting for a couple bars, we keep the tongue high and soft palate engaged, tight and ready to go. I have trained myself to drop and relax the palate while resting, even for just a couple beats or in bars of rest. The only way I can describe this is to touch your upper gumline behind the front teeth with the tip of the tongue and then lower the rest of the tongue and inhale through the nose. You can also just drop the tongue and that also opens and relaxes the palate. You can even do this with the tongue up, if you notice when you fall asleep at night, where does your tongue go? It actually goes up against the roof of your mouth (I learned this from a vocal colleague) so its a natural position, but often in clarinet and voice, we over compensate/engage it.
I have a couple of tests I use with my students is to sensitize them to any throat tension - this can be what ultimately causes the soft palate to go as well as faulty embouchure and low tongue position - I call it a domino effect. Some players tend to support the sound from the throat rather than from the lower abs/air support, I did this for a LONG time and had no idea I wasn't supporting right. My oboe colleague refers to support as "being stuck in a sit up" and we have the students in tech classes use the "Tssssssss" sound while supporting from the abdomen. While you do this, your throat shouldn't be tight, but your abs are. With Bb, we so badly want to get a full sound that is centered and projected, but instead of raising the tongue or having just the right embouchure and support, we can compensate with the throat closing, even just a little bit (which I notice when I'm out of shape) can cause the soft palate to weaken. Kind of like you are trying to grunt (those guys at the gym that try to lift too much weight)Test for throat tension
- Play a full range scale normally, just be aware but don't try to change anything (I don't tell the students that, just have them play normally)
- Plug the bell (with your calf or a cloth) and finger middle line B (on Bb clarinet) or the lowest note on the bass that closes all the keys
- You should be able to get overtones by doing this, how low can you go?
- Just as a vocalist vocalizes "do, mi, sol, mi do" we can slide from partial to partial with minimal effort. If we can do this, the throat is open.
- If nothing comes out, throat and/or embouchure are too tight.
- Play the full range scale again - do you notice a difference? Is the sound fuller? throat looser? soft palate? What do you notice? How is your support?
Exercises to use
- Kroepsch Book 1 - C Major (and all other keys eventually)
- My theory is if a student can play everything in the Kroepsch book with no issues, then voicing, support, etc is all where it needs to be
- Play each exercise with only air first on a "Shhhhh" syllable and really be aware of the velocity of air behind your fingers, do you hear your fingers?
- Quiet relaxed fingers and good steady air should be accomplished before adding the sound
- Add the sound, it should feel the same as it did with just the air, just more resistance but not uncomfortable
If the soft palate starts to go at anytime, STOP immediately and rest, evaluate why it went. The nice thing about the Kroepsch is they are short. I do a full key each day as part of my warm up in this process.
I had a freshman last fall who is a fabulous player, far ahead of all his peers, but the soft palate problem kept him from playing more than 10 minutes consecutively and when he got into performance it always seemed to give out. We did a lot of rebuilding and looking at support and tension, when he would get expressive, he tried to give nuances from his throat, not with the air speed.
We experimented with embouchure and got him on a mouthpiece that better enabled him to do what he wanted to do. He was on an M13 but working really hard to get the darker color in his head. He changed to the M15 and it was perfect. The M30 was too dark for him and caused him to over work the tongue/soft palate.
We also lightened his reed strength by maybe 1/4-1/2 a strength. We also video his lessons and performances so he can see if there are any physical motions that cause him to be out of balance therefore tensing things up. He leaned forward a lot causing him to tighten the throat, etc.
Long story short, his goal by the end of fall semester was to play the Burgmuller Duo on an area recital with no issues - mission accomplished! From time to time he has little problems, but very few and now knows how to handle the leak if it comes up.
Some folks have gone and had surgery to rebuild their soft palate, or injections into it (like botox), we had a student get one of these treatments in 2007 and its worked for her so far - but I think those are going to only be temporary remedies if the fundamental elements aren't where they need to be. Like any muscle, we can learn to control it with a little sensitization.
Monday, August 13, 2012
How to do looping music in 2012
I get asked this question all the time: What stuff do I need to do the stuff you do?
Loop-based music is what I have done now for over 10 years. If you aren't familiar with that term, it's simply music that can be created on the fly where you 1) record yourself, and then 2) play it back while recording something else on top (or not). 3) rinse, repeat…remove layers, add new ones, etc.
So what equipment do you need besides your instrument? The thing is, it changes. Ten years ago it was a Titanium G4 Powerbook, a MIDI interface, an audio interface and a bunch of control gear. Now it's a Macbook Air, and a different audio interface, and a different bunch of control gear. (Why? Faster computers allow you to do more complex stuff. And I like doing more complex stuff.)
But for example, let's take a piece like Ten Children. It's fairly simple in terms of electronic needs (because I wrote it almost 10 years ago). I can effectively play it with:
• A Macbook Air
• An audio interface like the MOTU Ultralite (I actually use this one, but it's much more expensive, because I'm a snob that way.)
• A bass clarinet microphone like the AMT WS
• A vocal mic like the Shure SM58 (I use a Røde NT3)
• A USB or MIDI foot pedal system. There are many of these, but after many years using one that I made myself, I now use the SoftStep.)
Now for music software:
• Cycling74's Max is what I use to run my show, but it's got a STEEP learning curve.
And with a software-based system like the one I describe above, I need effects plugins. Think: Reverbs, which make you sound like you're in a concert hall, or a bathroom, or a car trunk; Delays, which repeat your sound in a rhythmic (or non-rhythmic) way, way, way, way… The list of plugins I have numbers well over 100. Some are free, most aren't. They come in a few flavors, depending on your software, and your platform (Mac or PC). Most of the ones I use on Mac are of the VST variety. Chris Randall, of Audio Damage, is a GREAT developer of plugins. I own just about everything he's ever made.
Okay, but this post is about the basics. That all that crap above is what I've come to after years and years of development. Do you need it all? Nope.
First, check out this guy, Jarle Bernhoft. He uses a few microphones, and a Boss RC50 LoopStation
, and a guitar effects pedals. You'd be hard pressed to play any of my tunes with it, but if Bernhoft can make the kind of absolutely genius music he makes, it's more than adequate.
If you were to just get something simple like that (with a microphone of course, and maybe a simple little amp/speaker), you'd have a lot of fun, and you'd get a really good idea of what your next steps should be.
But most of all, have fun! This should definitely not be stressful, and you don't need to jump into the deep end right away!
Mike
Loop-based music is what I have done now for over 10 years. If you aren't familiar with that term, it's simply music that can be created on the fly where you 1) record yourself, and then 2) play it back while recording something else on top (or not). 3) rinse, repeat…remove layers, add new ones, etc.
So what equipment do you need besides your instrument? The thing is, it changes. Ten years ago it was a Titanium G4 Powerbook, a MIDI interface, an audio interface and a bunch of control gear. Now it's a Macbook Air, and a different audio interface, and a different bunch of control gear. (Why? Faster computers allow you to do more complex stuff. And I like doing more complex stuff.)
But for example, let's take a piece like Ten Children. It's fairly simple in terms of electronic needs (because I wrote it almost 10 years ago). I can effectively play it with:
• A Macbook Air
• An audio interface like the MOTU Ultralite (I actually use this one, but it's much more expensive, because I'm a snob that way.)
• A bass clarinet microphone like the AMT WS
• A vocal mic like the Shure SM58 (I use a Røde NT3)
• A USB or MIDI foot pedal system. There are many of these, but after many years using one that I made myself, I now use the SoftStep.)
Now for music software:
• Cycling74's Max is what I use to run my show, but it's got a STEEP learning curve.
And with a software-based system like the one I describe above, I need effects plugins. Think: Reverbs, which make you sound like you're in a concert hall, or a bathroom, or a car trunk; Delays, which repeat your sound in a rhythmic (or non-rhythmic) way, way, way, way… The list of plugins I have numbers well over 100. Some are free, most aren't. They come in a few flavors, depending on your software, and your platform (Mac or PC). Most of the ones I use on Mac are of the VST variety. Chris Randall, of Audio Damage, is a GREAT developer of plugins. I own just about everything he's ever made.
Okay, but this post is about the basics. That all that crap above is what I've come to after years and years of development. Do you need it all? Nope.
First, check out this guy, Jarle Bernhoft. He uses a few microphones, and a Boss RC50 LoopStation
, and a guitar effects pedals. You'd be hard pressed to play any of my tunes with it, but if Bernhoft can make the kind of absolutely genius music he makes, it's more than adequate.
If you were to just get something simple like that (with a microphone of course, and maybe a simple little amp/speaker), you'd have a lot of fun, and you'd get a really good idea of what your next steps should be.
But most of all, have fun! This should definitely not be stressful, and you don't need to jump into the deep end right away!
Mike
Sunday, July 08, 2012
Student Bass clarinet suggestions?
A question from YouTube:
Hello, this past year I have been playing bass clarinet seriously and I am thinking about buying one... I wonder if you have tried the Bass Clarinets made by Tom Ridenour. Right now I am renting a Buffet Prestige from the school but it would be just too expensive for me to buy one of those. Do you have any suggestion for me?
Here was my reply:
Not a fan of the student-model bass clarinets actually. (I'm sorry!) I've tried Jupiter, and a bunch of others, and I haven't found one that has decent keywork. On Bb clarinets that's not as big of a problem, because 1) the keys are smaller and 2) you cover half of the holes with your fingers anyway. But on bass clarinets the length of the keys, and the length of the rods makes it such that bad keywork (low-quality alloys) will just mean that your bass clarinet is ALWAYS out of adjustment.
That all said, I am going to ClarFest this year, and I plan to make a quick video of each student instrument and post it on YouTube with my comments. (well, if that's possible, and if it's possible to hear me over the noise of everyone playing!)
I hope to be surprised by one of these student instruments. It's just SO hard to make something that's affordable (even if it's plastic) that has decent metal in the keys.
Stay tuned!
Thursday, March 22, 2012
When to get a new Bass Clarinet
I got this message from a young bass clarinetist, and I thought I'd answer it here, since it's something I'm hearing a fair bit from my own students.
In terms of #1, I got my first horn when I graduated from High School, right before I went off to Eastman for college. I did all of my auditions on an old plastic Leblanc Vito, low Eb bass -- so I guess that's to say that it can be done. I'd say to get one if you can afford it. You can ALWAYS get rid of a used bass for damn near as much as you paid for it. The market for good, used, professional-quality horns is very tight. Most people who buy them keep them, so if you do need to get rid of one, you can usually find a buyer without too much trouble.
As for #2, you can get a Selmer or a Buffet. Those really are your two options. I'm not a fan of the Yamaha horns because they just don't have the sound of the other two. I'm a Selmer guy. I always have been. Their horns simply sound better, they have a more pleasing resistance (read: they're much less resistant), and they are much more "even-blowing" in terms of some notes being stuffy and others being less stuffy. Buffets are particularly prone to this problem.
Lately I've seen younger students getting low C horns (because you can buy student-model low C horns now - that's something they didn't have in the 1980s), but those student model horns by Jupiter, Allora, etc are total crap. Why? Mainly it's all in the keywork. The keys are really low-quality, they bend and go out of adjustment because the metal used is low-quality.
So, in short, save your money. Don't buy a low-C bass clarinet from one of these guys. You'll have repair bills that, over the course of owning the horn, will probably make up the (admittedly huge) difference in cost.
#3: That's a hard one to answer. I own a great set of pots & pans - probably some of the best - but I'm not a professional chef. Why? Because I like working with good tools. Then again, I cook all the time, so I get good use out of them.
Is this what you plan to do on your bass? Will you use and enjoy it a long time? Does having a good "tool" matter in this case? Probably. If you see yourself not playing for long, or -- and be honest with yourself -- if you are someone who loses interest when things get frustrating…well maybe not.
But then again, as I said in #1, you can always sell it.
Hope this helps some of you guys.
Mike
1. When is it time for you to purchase a professional model bass clarinet (low C range)?
2. What is the cost of one of these instruments (quality of course) and which brands are the best?
3. Is this worth purchasing if you don't plan on being a professional musician?
In terms of #1, I got my first horn when I graduated from High School, right before I went off to Eastman for college. I did all of my auditions on an old plastic Leblanc Vito, low Eb bass -- so I guess that's to say that it can be done. I'd say to get one if you can afford it. You can ALWAYS get rid of a used bass for damn near as much as you paid for it. The market for good, used, professional-quality horns is very tight. Most people who buy them keep them, so if you do need to get rid of one, you can usually find a buyer without too much trouble.
As for #2, you can get a Selmer or a Buffet. Those really are your two options. I'm not a fan of the Yamaha horns because they just don't have the sound of the other two. I'm a Selmer guy. I always have been. Their horns simply sound better, they have a more pleasing resistance (read: they're much less resistant), and they are much more "even-blowing" in terms of some notes being stuffy and others being less stuffy. Buffets are particularly prone to this problem.
Lately I've seen younger students getting low C horns (because you can buy student-model low C horns now - that's something they didn't have in the 1980s), but those student model horns by Jupiter, Allora, etc are total crap. Why? Mainly it's all in the keywork. The keys are really low-quality, they bend and go out of adjustment because the metal used is low-quality.
So, in short, save your money. Don't buy a low-C bass clarinet from one of these guys. You'll have repair bills that, over the course of owning the horn, will probably make up the (admittedly huge) difference in cost.
#3: That's a hard one to answer. I own a great set of pots & pans - probably some of the best - but I'm not a professional chef. Why? Because I like working with good tools. Then again, I cook all the time, so I get good use out of them.
Is this what you plan to do on your bass? Will you use and enjoy it a long time? Does having a good "tool" matter in this case? Probably. If you see yourself not playing for long, or -- and be honest with yourself -- if you are someone who loses interest when things get frustrating…well maybe not.
But then again, as I said in #1, you can always sell it.
Hope this helps some of you guys.
Mike
Sunday, November 20, 2011
11 Harry Sparnaay-isms
When I studied with Harry Sparnaay back in 1989-1990, he would often drop knowledge on me beyond the usual "this-is-how-you-play-this-shiznit" lesson material. This stuff was gold to me -- and I would sit outside my lesson on the bench writing down these "Sparnaayisms" on the back of whatever music I was playing that week.
I just went through them all, and figured I'd share them with you all here.
Strap in - here we go:
1. [written on the back of Isang Yun's Monolog]: "We don't learn to play wrong notes, but it's really okay -- just as long as the performance idea is intact."
2. [written on the back of Brian Ferneyough's Time and Motion Study]: "Sometimes you can only play a piece for 15 minutes and you just have to stop and take a rest."
3. "Don't play bad music."
4. "We are not some opera diva with a big ego and big tits standing on the stage – we are bass clarinet players; real people!"
5. [written on the back of Michael Smetanin's Ladder of Escape]: "I don't like to play concerts where the music is all this intellectual stuff. I like to have the plumber and the milkman come to a concert and enjoy it as well as the intellectual. Actually, I like the milkman better…"
6. "It's OKAY to take a week off. Everyone needs a vacation and we do too. You will lose it here (your chops), but you will never lose it up here (in your head)."
7. [written on the back of Claudio Ambrosini's Capriccio Detto L'Ermafrodite]: "I like music from composers who know the bass clarinet (because they know what is possible), but I also like music from composers who don't, because then you will run into problems that you have to solve for yourself."
7a. [also written on the back of Claudio Ambrosini's Capriccio Detto L'Ermafrodite]: "Where there is a problem, you can nearly always find a solution."
8. [written on the back of Takayuki Rai's Sparkle]: "It's very important to have a personal contact with the audience; talk to them — it helps them to understand the music as you understand it."
8a. [also written on the back of Takayuki Rai's Sparkle]: "Always be honest with the audience when you talk. Then they realize that it's just a man on the stage."
9. [written on the back of Jos Kunst's Solo Identity 1]: "Contemporary musicians need new music constantly, otherwise we are dead. People will hire you to play Mozart over and over, but you will never get hired twice to play the same program of contemporary music."
10. [written on the back of Guus Janssen's Sprezzatura]: "If you think something is going to go wrong on the stage, SKIP IT. Never ever be the joker on the stage."
11. [written on the back of Eric Dolphy's God Bless The Child]: "With the type of music that we play, you always have to have it in your head and in your balls."
So there you have it. So many of these "isms" have stayed with me and have become part of who I am as a musician, it was kind of amazing to go back and read them.
Thanks Harry!
Sunday, April 03, 2011
Vintage bass clarinets...suck.
Figured that title would get people's attention (and get their ire up).
As a whole, I think this is true. I'm sure there are now about 2,000 people out there who are going to write me and disagree. I'll spare you the trouble: I'm sure your 1950's bass clarinet sounds great. I'm sure you can manage its intonation issues. I'm sure it's incredibly free-blowing. I'm sure the wood is incredible.
But, for my money, I prefer having the technological and acoustical advances that have been made over the past 60 years part of my bass clarinet's DNA. I like that the ergonomics of the instrument have improved. I like having a single register key. I like being able to not twist myself into knots to get the thing to play in tune.
Sometimes older is not better.
Let the flame war commence.
As a whole, I think this is true. I'm sure there are now about 2,000 people out there who are going to write me and disagree. I'll spare you the trouble: I'm sure your 1950's bass clarinet sounds great. I'm sure you can manage its intonation issues. I'm sure it's incredibly free-blowing. I'm sure the wood is incredible.
But, for my money, I prefer having the technological and acoustical advances that have been made over the past 60 years part of my bass clarinet's DNA. I like that the ergonomics of the instrument have improved. I like having a single register key. I like being able to not twist myself into knots to get the thing to play in tune.
Sometimes older is not better.
Let the flame war commence.
Friday, November 26, 2010
When is it you, and when is it the bass clarinet?
I got two notes from people this week that I wanted to post here as an example of when you might have trouble with your instrument, or when you just need to practice more.
First from Facebook:
To which I replied:
When your instrument is simply not speaking a note, or squeaks all the time, it is most likely the instrument -- ESPECIALLY if it is a school bass clarinet. Having your band director look at it is a first line of defense, but even seasoned repairmen don't often see a bass clarinet, so expecting your band director to see the problem is pretty unlikely. I recommend taking the instrument to a good repair person (with your band director's blessing, of course), and then see what s/he says.
Now, to a text message I got off my site:
Well here's what I replied:
Sometimes it's hard to tell if it's you or if it's the instrument. I'll make a video soon to help tell which is which. But in the mean time, I hope this helps.
First from Facebook:
Hey, i have a soo festival next thursday and all of a sudden my high notes (b-f) wont come out iif i am playing quiet. all i get are squeeks. is there anything i can do to fix it?
To which I replied:
My first stop would be a repairman. When you're playing quietly, you're not forcing as much air through the instrument. Often, when you have a leak, pushing more air through the horn will overcome that leak, but quiet playing will be a problem. I would bet that the problem lies in your F key (clarion F; top-line of the staff) isn't closing completely. One way to check this is to rotate your bass clarinet top joint so that the bridge key doesn't connect. Then try those notes again. If they come out, then the problem is in your bridge key. Other than that, someone might have to look at the horn.
When your instrument is simply not speaking a note, or squeaks all the time, it is most likely the instrument -- ESPECIALLY if it is a school bass clarinet. Having your band director look at it is a first line of defense, but even seasoned repairmen don't often see a bass clarinet, so expecting your band director to see the problem is pretty unlikely. I recommend taking the instrument to a good repair person (with your band director's blessing, of course), and then see what s/he says.
Now, to a text message I got off my site:
I'm a 9th grader and I have been playing b.c for 5 years. How can you switch smoothly from different octaves?
Well here's what I replied:
Thanks for your note. Well, I hate to say it, but the real way is by practicing a lot.
What you need to understand is that when you play an A (second space in the staff) and then play a B (third line in the staff) you are going from playing about 16 inches of bass clarinet (where the A-key hole is -- it's high up on the bass clarinet) to 3 feet of bass clarinet (where the B-key hole is). So, when you go from playing that A to playing that B, you have to get all your air all the way down to the bottom of the bass clarinet INSTANTLY! That comes from making sure you have a consistent and well supported air stream.
The way I like to think of it is blowing all the way to the bell of the bass clarinet *all the time* -- it helps when you have to make these register leaps (or, as you call it, "octave switches").
Sometimes it's hard to tell if it's you or if it's the instrument. I'll make a video soon to help tell which is which. But in the mean time, I hope this helps.
Sunday, November 07, 2010
How to clean a mouthpiece
Got a text from Erika asking about how to clean a mouthpiece. First off, you should dry your mouthpiece regularly (like every time you practice) but you should NEVER run a swab through it. At least not regularly.
There are two reasons to clean a mouthpiece, and they take two slightly different approaches:
Reason #1: It's disgusting inside. Gunk, reed nastiness, and other whatnot has collected in there, usually by the inside of the mouthpiece rails. While I usually don't let it get that bad, sometimes I forget (gross, but true). So, to clean this, I usually fill a cup with 1/2 Hydrogen Peroxide (H2O2) and 1/2 water. I'd bed you probably have some H2O2 in your house, but I also bet it's old. It loses its potency, and it's cheap to replace, so if it's old, replace it from your local pharmacy. Anyway, soak your mouthpiece in that for about 15 minutes. It'll bubble something fierce, which is the H2O2's reaction to the bacteria in your mouthpiece. Afterwards, roll up some kleenex (no aloe- or lotion-infused kleenex, please) and run it through the inside of the mouthpiece to clean it. Get in the corners with a Q-tip if needed.
Reason #2: It's got lots of calcium caked onto the beak of it. That white stuff around where your mouth goes? It's not gonna come off with H2O2. But it will come off with a little weak acid. I take lemon juice and mix it 1/2 and 1/2 with water (if you don't have lemon juice, use white vinegar, but dilute it a little more). Soak the mouthpiece in that for 10 minutes or so, and then rub with a cloth or kleenex on the build-up. It should come off with a little elbow grease :)
Again, NEVER use a swab inside your mouthpiece unless you're looking for an excuse to get a new one.
Hope this helps Erika!
There are two reasons to clean a mouthpiece, and they take two slightly different approaches:
Reason #1: It's disgusting inside. Gunk, reed nastiness, and other whatnot has collected in there, usually by the inside of the mouthpiece rails. While I usually don't let it get that bad, sometimes I forget (gross, but true). So, to clean this, I usually fill a cup with 1/2 Hydrogen Peroxide (H2O2) and 1/2 water. I'd bed you probably have some H2O2 in your house, but I also bet it's old. It loses its potency, and it's cheap to replace, so if it's old, replace it from your local pharmacy. Anyway, soak your mouthpiece in that for about 15 minutes. It'll bubble something fierce, which is the H2O2's reaction to the bacteria in your mouthpiece. Afterwards, roll up some kleenex (no aloe- or lotion-infused kleenex, please) and run it through the inside of the mouthpiece to clean it. Get in the corners with a Q-tip if needed.
Reason #2: It's got lots of calcium caked onto the beak of it. That white stuff around where your mouth goes? It's not gonna come off with H2O2. But it will come off with a little weak acid. I take lemon juice and mix it 1/2 and 1/2 with water (if you don't have lemon juice, use white vinegar, but dilute it a little more). Soak the mouthpiece in that for 10 minutes or so, and then rub with a cloth or kleenex on the build-up. It should come off with a little elbow grease :)
Again, NEVER use a swab inside your mouthpiece unless you're looking for an excuse to get a new one.
Hope this helps Erika!
Wednesday, September 22, 2010
Releasing your music to the world
Got a great question from someone a couple of weeks ago:
I'll take the easy one first:
Copyright
Copyrighting your music is very simple. As soon as an original work of authorship is fixed in a tangible form and published, a copyright exists. If you would like to go one extra step do this: If it's sheet music, put it in an envelope, take it to the post office and put it in the mail to yourself. That's it! The postmark from the post office is all you need to prove the date of copyright. If you want to be extra-special careful, you can send it certified mail, but all that does is make you 1) go to the post office and 2) pay a lot more money for the same thing. If you want to copyright a recording, just take the recording and do the same thing as you would printed music.
Of course, there is a more official way of registering with the copyright office here in Washington, but really, this "common law" copyright is legal and binding.
Releasing your own CD
So, yeah. Lots of different advice from many people on this one. I guess I can just tell you why I chose the route I did, which is to self-release. This is the story of my five CD's and how they got released:
Spasm came out in 1996. The first conversation I had with New World Records (a GREAT company, by the way) took place around the early summer of 1994. I offered them the proposal of a "recital" sort of disc, where I would commission a bunch of composers to write for me, I'd record them and give the master to New World. New World liked the idea, and they went ahead and wrote a much of grants on my behalf to fund the release. Back then, the cost of releasing the disc -- not recording, mind you, but releasing -- was over $15,000. That covered Mastering, the liner notes, cover art, manufacturing, distribution, PR, and overhead.
I went ahead and recorded all of the pieces not knowing if the project would ever happen, but I was in grad school with access to good equipment, so it was all good. Finally, in the winter of 1996 (March-ish), I got word that the grants came in, and Spasm would be released. I signed the contract (which gave New World the rights to the recording for 10 years, and would pay out royalties only). I was entitled to purchase the CD's at a discounted rate of $7 after the first 100, which were free.
Total time from recording to release: 30 months.
On 1985 I decided to go a different route, because I didn't want to wait over two years to release the next record. I contacted Capstone (NOT a great company, I'm afraid), who's deal was this: you give us the CD's (yes, I had to get them printed myself, but then again, I got to control everything from the artwork to the notes), and $500 and we'll do the PR for you. Well, the good part was that I got all the CD's I wanted (I had to warehouse them). But, the bad part was that Capstone did no PR, was terrible at bookkeeping (I hounded them for almost 6 years and finally got paid a fraction of what they owed me). I canceled the agreement and re-released it myself.
Total time from recording to release: 4 months
Ok, so for Ten Children I had heard about CDBaby (another GREAT company). Their deal was: whatever dude. Sign up for $35, pay us a little more for a barcode, send the discs when they're ready and we'll get them up on iTunes (and everywhere else). You set the price yourself, they take $4 per disc, and manage all the fulfillment (i.e. they ship it). When they run out of CD's you send a few more. In 2003, this was an amazing thing -- the democratization of CD recording/releasing/distribution. For Ten Children, I bought my own CD duplicator which recorded and printed the disc in batches of 20. I could buy jewel cases in bulk, I had the covers/inserts printed in bulk, I bought the blank CD's in bulk, I purchased a shrink-wrap kit and bought the shrink sleeves in bulk. I got the the per-unit cost down to about $1.06 (Spasm, again, cost me $7 per unit to buy from New World; 1985 cost me about $4.40 per unit). This also allowed me to release the following 2 CD's (Fade and Spin Cycle) and use the same bulk equipment. So at any given time I could produce batches of whatever recording I needed to with one set of bulk blanks (except, of course, for the inserts, which were printed in lots of 500).
The good parts about this is many-fold: 1) I'm in complete control of the recording/PR/distribution -- talk about vertically-integrated! 2) I carry no significant inventory; 3) My stuff is on EVERY digital channel but also is available from a few channels as actual CD's; 4) I can release a new CD whenever the hell I want to.
The downside is this: I have to do everything myself. And it's time-consuming. But if you have the will, you can release a disc, get a lot of free press & reviews, and your outlay of cash is relatively low.
Total time from recording to release: 3 weeks.
But ultimately, you have to decide for yourself if you think your music is something a label will "pick up" and run with. Just having them release it is nothing. It's worthless. They need to back it with some PR & marketing, and you have to make sure your contract is something that you're comfortable with.
Oh, and you can ALWAYS release it yourself and RE-release it with a bigger label if you get one interested. But having a CD to sell at a show always beats not having one.
Hope this was helpful.
Mike
Michael, I wanted to ask you a couple question about the procedures one has to encounter when releasing a CD with his own music. I have three classical CDs released where I perform music of different composers, but I am not sure how it works when you release your own music. Do you have to copyright it or not?
Also, I wanted to ask you about labels. I know that a lot of people prefer to release material under their own labels. I saw that practically all of your CDs have been released under earspasm. Is there just no point trying to release music on some relatively famous label?
I'll take the easy one first:
Copyright
Copyrighting your music is very simple. As soon as an original work of authorship is fixed in a tangible form and published, a copyright exists. If you would like to go one extra step do this: If it's sheet music, put it in an envelope, take it to the post office and put it in the mail to yourself. That's it! The postmark from the post office is all you need to prove the date of copyright. If you want to be extra-special careful, you can send it certified mail, but all that does is make you 1) go to the post office and 2) pay a lot more money for the same thing. If you want to copyright a recording, just take the recording and do the same thing as you would printed music.
Of course, there is a more official way of registering with the copyright office here in Washington, but really, this "common law" copyright is legal and binding.
Releasing your own CD
So, yeah. Lots of different advice from many people on this one. I guess I can just tell you why I chose the route I did, which is to self-release. This is the story of my five CD's and how they got released:
Spasm came out in 1996. The first conversation I had with New World Records (a GREAT company, by the way) took place around the early summer of 1994. I offered them the proposal of a "recital" sort of disc, where I would commission a bunch of composers to write for me, I'd record them and give the master to New World. New World liked the idea, and they went ahead and wrote a much of grants on my behalf to fund the release. Back then, the cost of releasing the disc -- not recording, mind you, but releasing -- was over $15,000. That covered Mastering, the liner notes, cover art, manufacturing, distribution, PR, and overhead.
I went ahead and recorded all of the pieces not knowing if the project would ever happen, but I was in grad school with access to good equipment, so it was all good. Finally, in the winter of 1996 (March-ish), I got word that the grants came in, and Spasm would be released. I signed the contract (which gave New World the rights to the recording for 10 years, and would pay out royalties only). I was entitled to purchase the CD's at a discounted rate of $7 after the first 100, which were free.
Total time from recording to release: 30 months.
On 1985 I decided to go a different route, because I didn't want to wait over two years to release the next record. I contacted Capstone (NOT a great company, I'm afraid), who's deal was this: you give us the CD's (yes, I had to get them printed myself, but then again, I got to control everything from the artwork to the notes), and $500 and we'll do the PR for you. Well, the good part was that I got all the CD's I wanted (I had to warehouse them). But, the bad part was that Capstone did no PR, was terrible at bookkeeping (I hounded them for almost 6 years and finally got paid a fraction of what they owed me). I canceled the agreement and re-released it myself.
Total time from recording to release: 4 months
Ok, so for Ten Children I had heard about CDBaby (another GREAT company). Their deal was: whatever dude. Sign up for $35, pay us a little more for a barcode, send the discs when they're ready and we'll get them up on iTunes (and everywhere else). You set the price yourself, they take $4 per disc, and manage all the fulfillment (i.e. they ship it). When they run out of CD's you send a few more. In 2003, this was an amazing thing -- the democratization of CD recording/releasing/distribution. For Ten Children, I bought my own CD duplicator which recorded and printed the disc in batches of 20. I could buy jewel cases in bulk, I had the covers/inserts printed in bulk, I bought the blank CD's in bulk, I purchased a shrink-wrap kit and bought the shrink sleeves in bulk. I got the the per-unit cost down to about $1.06 (Spasm, again, cost me $7 per unit to buy from New World; 1985 cost me about $4.40 per unit). This also allowed me to release the following 2 CD's (Fade and Spin Cycle) and use the same bulk equipment. So at any given time I could produce batches of whatever recording I needed to with one set of bulk blanks (except, of course, for the inserts, which were printed in lots of 500).
The good parts about this is many-fold: 1) I'm in complete control of the recording/PR/distribution -- talk about vertically-integrated! 2) I carry no significant inventory; 3) My stuff is on EVERY digital channel but also is available from a few channels as actual CD's; 4) I can release a new CD whenever the hell I want to.
The downside is this: I have to do everything myself. And it's time-consuming. But if you have the will, you can release a disc, get a lot of free press & reviews, and your outlay of cash is relatively low.
Total time from recording to release: 3 weeks.
But ultimately, you have to decide for yourself if you think your music is something a label will "pick up" and run with. Just having them release it is nothing. It's worthless. They need to back it with some PR & marketing, and you have to make sure your contract is something that you're comfortable with.
Oh, and you can ALWAYS release it yourself and RE-release it with a bigger label if you get one interested. But having a CD to sell at a show always beats not having one.
Hope this was helpful.
Mike
Sunday, July 11, 2010
Getting ready for Austin
So, I'm here in Brooklyn riding out the heatwave in the basement (the only room(s) in the house with decent air conditioning!)
I've got my new setup, which I'm totally pumped to bring along to Austin for ICA. Here is a pic of the new "Tree" (the mic stand with all sorts of crap attached to it.) -- By the way, I'm really sorry the quality of the pix are so bad -- Katherine took the camera to Michigan and all I have is the camera on this computer!
Show and tell time:
From top to bottom, left to right, we've got:
• Rode NT3 microphone. My old standby -- feeds back a bit, but sounds so much better than any Shure I've used (and own) that I can't help but use it. I need that proximity effect when I'm beatboxing...
• A new 10.1" LCD monitor i got off ebay (showing sheet music when necessary, otherwise it's unused now -- this is a change from when I had a touch-screen monitor where everything happened on that monitor. Unfortunately it weighed a lot, so I'm glad I don't have to shlep it any more.
• My iPad running TouchOSC which controls the mac via WiFi. Totally wireless, two-way communication between the pad and the mac, so, if I make a change on the mac in Max, it shows up within 200ms on the pad. Sweet!
• Korg's Kaossilator. When I bought this thing I figured it'd be a fun toy that I'd never use in concert, much less a recording. Um, I used it more than the $2,800 Access Virus TI synth for my last record Spin Cycle. Yeah, it's plastic, and it's yellow (though you can now get it in pink), but it sounds AMAZING for what it is.
Okay, so below those I've got a rack shelf holding my harmonicas and across from that is...
• an Akai EWI, which I use more as a vocoder carrier than as a synth.
The other little monitor to the left of the tree isn't used, I just didn't move it for the pic.
I'll get a better pic of the iPad when Katherine gets back, and possibly a video of how it works as a demo. It's really cool... I'm nervous about it a bit because I haven't used it in concert yet, and I have not performed with it on an ad-hoc network (I'm using my Airport to link the two -- ad hoc networks for those who don't know are when you can make your computer as the hub of a WiFi network).
Anyway, this Austin gig is going to be really great, if short (I've got all of 30 minutes). I'm planning to do a few new tunes (My Mouth, Bam Pip and Trip) and a few of my other faves (Ariel's Hands, Sha and Summertime). Hoping I can get all of them in...I'd like to do Abbey as a final tune. We'll see.
Anyway, there you go. If you're in Austin please come by and say hi. I'll be there for nearly the whole conference.
-Mike
I've got my new setup, which I'm totally pumped to bring along to Austin for ICA. Here is a pic of the new "Tree" (the mic stand with all sorts of crap attached to it.) -- By the way, I'm really sorry the quality of the pix are so bad -- Katherine took the camera to Michigan and all I have is the camera on this computer!
Show and tell time:
From top to bottom, left to right, we've got:
• Rode NT3 microphone. My old standby -- feeds back a bit, but sounds so much better than any Shure I've used (and own) that I can't help but use it. I need that proximity effect when I'm beatboxing...
• A new 10.1" LCD monitor i got off ebay (showing sheet music when necessary, otherwise it's unused now -- this is a change from when I had a touch-screen monitor where everything happened on that monitor. Unfortunately it weighed a lot, so I'm glad I don't have to shlep it any more.
• My iPad running TouchOSC which controls the mac via WiFi. Totally wireless, two-way communication between the pad and the mac, so, if I make a change on the mac in Max, it shows up within 200ms on the pad. Sweet!
• Korg's Kaossilator. When I bought this thing I figured it'd be a fun toy that I'd never use in concert, much less a recording. Um, I used it more than the $2,800 Access Virus TI synth for my last record Spin Cycle. Yeah, it's plastic, and it's yellow (though you can now get it in pink), but it sounds AMAZING for what it is.
Okay, so below those I've got a rack shelf holding my harmonicas and across from that is...
• an Akai EWI, which I use more as a vocoder carrier than as a synth.
The other little monitor to the left of the tree isn't used, I just didn't move it for the pic.
I'll get a better pic of the iPad when Katherine gets back, and possibly a video of how it works as a demo. It's really cool... I'm nervous about it a bit because I haven't used it in concert yet, and I have not performed with it on an ad-hoc network (I'm using my Airport to link the two -- ad hoc networks for those who don't know are when you can make your computer as the hub of a WiFi network).
Anyway, this Austin gig is going to be really great, if short (I've got all of 30 minutes). I'm planning to do a few new tunes (My Mouth, Bam Pip and Trip) and a few of my other faves (Ariel's Hands, Sha and Summertime). Hoping I can get all of them in...I'd like to do Abbey as a final tune. We'll see.
Anyway, there you go. If you're in Austin please come by and say hi. I'll be there for nearly the whole conference.
-Mike
Monday, July 05, 2010
Garageband?
From the mailbag:
I was wondering if you could advise me briefly on how complicated it is to compose music on garageband. I don't mean the musical side of it, but the technical side. I'm asking on behalf of my 82-year-old father who composes piano music for pleasure in his retirement, writes it painstakingly the old-fashioned way, and records it to an archaic cassette deck left over from the 70s or 80s. I've seen the process demonstrated at an Apple store and it looks amazing, but I wondered how difficult it would be for my father to master. We are both Mac users; I am reasonably adept, but no genius (and no composer!), and he is amazingly adept for a recent convert. I'd just love to see him be able to print his sheet music easily and make MP3s of his recordings to send to friends and family. Do you think it's realistic to encourage him to invest in a decent electronic keyboard and try this?
Thanks very much for your time,
Heidi
Hey there Heidi,
Thanks for your email. So, I think you should indeed encourage your dad to use Garageband - it is very intuitive, has built-in instrument sounds (that actually sound very good), and is free(!). Garageband itself is simple for most users, but it is geared mostly for loop-based popular music. You can used it very easily for more traditional music composition, and I think your dad might find it much more easy to get his ideas down than when using pen-and-paper and cassette tapes, but it will take some getting used to.
A portable USB-powered keyboard is fairly inexpensive (i would recommend this one for its price-to-feature ratio: http://www.zzounds.com/item--MDOOXY61, $170, 61 keys; fewer-key models cost less), and very portable. Since they are powered by the computer, they are very convenient, but they make no sound on their own. Given what you describe his interests to be, I think they are a good bet.
Of course, I'd always consider the possibility that he LIKES to compose the old-fashioned way :)
Hope this helps.
I was wondering if you could advise me briefly on how complicated it is to compose music on garageband. I don't mean the musical side of it, but the technical side. I'm asking on behalf of my 82-year-old father who composes piano music for pleasure in his retirement, writes it painstakingly the old-fashioned way, and records it to an archaic cassette deck left over from the 70s or 80s. I've seen the process demonstrated at an Apple store and it looks amazing, but I wondered how difficult it would be for my father to master. We are both Mac users; I am reasonably adept, but no genius (and no composer!), and he is amazingly adept for a recent convert. I'd just love to see him be able to print his sheet music easily and make MP3s of his recordings to send to friends and family. Do you think it's realistic to encourage him to invest in a decent electronic keyboard and try this?
Thanks very much for your time,
Heidi
Hey there Heidi,
Thanks for your email. So, I think you should indeed encourage your dad to use Garageband - it is very intuitive, has built-in instrument sounds (that actually sound very good), and is free(!). Garageband itself is simple for most users, but it is geared mostly for loop-based popular music. You can used it very easily for more traditional music composition, and I think your dad might find it much more easy to get his ideas down than when using pen-and-paper and cassette tapes, but it will take some getting used to.
A portable USB-powered keyboard is fairly inexpensive (i would recommend this one for its price-to-feature ratio: http://www.zzounds.com/item--MDOOXY61, $170, 61 keys; fewer-key models cost less), and very portable. Since they are powered by the computer, they are very convenient, but they make no sound on their own. Given what you describe his interests to be, I think they are a good bet.
Of course, I'd always consider the possibility that he LIKES to compose the old-fashioned way :)
Hope this helps.
Wednesday, March 10, 2010
How to find a good mouthpiece, part 1
From the mailbag, a question about mouthpieces and how to find a good one:
My reply:
So to answer your question about the mouthpiece, as you can imagine, it's a very personal quest. And by "Personal" I mean, your mouth is different from mine is different from anyone else's -- and that's where mouthpiece recommendations begin to fall flat. You want a mouthpiece craftsman who can -- either through trial and error, or through voodoo -- pick up on your cues and make you something you can easily play on. Those cues are successful inasmuch as you are able to accurately describe what your difficulties are (or what you like) about any given mouthpiece. Think about how resistant it is, or how it responds when articulated loudly (or softly), if it is able to give you a pure (and unfuzzy) tone in all dynamic levels, if you can move easily between registers, including extreme register leaps. Stuff like that will help them help you.
There are many manufacturers/refacers out there who are good, or so I'm told. Walter Grabner, Clark Fobes, and McClune are the three I hear most about.
Ligatures, well, I think they make little difference -- I have a rovner I have used for about 20 years. I like it because when I sit on it, it doesn't break. :)
On the bass clarinet. I went extremely low end, just try it out. It is a used Busher (sp!), which, save for a slightly moldy smell, has no other major difficulties. The next stop is a new mouthpiece (the one on hand is a stock piece that came with the clarinet), which brought me to your site. I'm inclined to call/write the first fellow you mention (McClure, or something close to that) and get an S2. Still advisable, or are there other recs that have come to the fore? I can swing the price (though it will be more than half of what I paid for the clarinet), and I know well, from my tenor, that the mouthpiece opens up new worlds. I need as well a new ligature. Recommendations here?
My reply:
So to answer your question about the mouthpiece, as you can imagine, it's a very personal quest. And by "Personal" I mean, your mouth is different from mine is different from anyone else's -- and that's where mouthpiece recommendations begin to fall flat. You want a mouthpiece craftsman who can -- either through trial and error, or through voodoo -- pick up on your cues and make you something you can easily play on. Those cues are successful inasmuch as you are able to accurately describe what your difficulties are (or what you like) about any given mouthpiece. Think about how resistant it is, or how it responds when articulated loudly (or softly), if it is able to give you a pure (and unfuzzy) tone in all dynamic levels, if you can move easily between registers, including extreme register leaps. Stuff like that will help them help you.
There are many manufacturers/refacers out there who are good, or so I'm told. Walter Grabner, Clark Fobes, and McClune are the three I hear most about.
Ligatures, well, I think they make little difference -- I have a rovner I have used for about 20 years. I like it because when I sit on it, it doesn't break. :)
Sunday, January 17, 2010
Playing Ten Children with live electronics instead of tape
From the mailbag: I was looking to perform some (or several) of your compositions, particularly Drift and Ten Children. I was wondering if you could tell me what I would need in order to perform them the same way you perform them instead of with the tape accompaniment. Thank you very much.
So, I'm going to make a video for the site to show all the gear I use, but until I get around to doing that, this post will have to suffice...
First of all, you need a "basic" electronic music computer setup like mine:
Then you'll need the software & plugins:
The rest of what I use is optional, really.
I guess the reason I don't make these non-tape versions available to people is that there is a LOT of troubleshooting that needs to go on in order to get things working with each particular setup. For example, everyone has a different footpedal, so I would have to reprogram that part of every movement to handle that; everyone has a different audio interface, so the levels need to be optimized, etc. etc. Basically, It'd be too big of a pain for me to do it, so I don't. That said, if you're ever in NYC, you got all the necessary hardware/software and you want me to set your machine up, I might be persuaded...
Like I said though, stay tuned. I will try to get a video "tour" of my setup up on the site asap.
So, I'm going to make a video for the site to show all the gear I use, but until I get around to doing that, this post will have to suffice...
First of all, you need a "basic" electronic music computer setup like mine:
- MacBook (probably pro, but I think you can make do with a non-pro)
- Audio Interface with at least two inputs
- Instrument Microphone
- Vocal Mic (like an SM58 or something better)
- Foot pedal (something simple)
Then you'll need the software & plugins:
- Max 5
- WaveArts TrackPlug & Masterverb (you'd choose "power suite custom duo" here)
- Voxengo's LF Max Punch
The rest of what I use is optional, really.
I guess the reason I don't make these non-tape versions available to people is that there is a LOT of troubleshooting that needs to go on in order to get things working with each particular setup. For example, everyone has a different footpedal, so I would have to reprogram that part of every movement to handle that; everyone has a different audio interface, so the levels need to be optimized, etc. etc. Basically, It'd be too big of a pain for me to do it, so I don't. That said, if you're ever in NYC, you got all the necessary hardware/software and you want me to set your machine up, I might be persuaded...
Like I said though, stay tuned. I will try to get a video "tour" of my setup up on the site asap.
Saturday, December 26, 2009
Pitch problems?
From the mailbag I just got this question about tuning on the bass clarinet
Hello Michael,
I want to ask you a question about the tuning topic on the bass clarinet. I'm playing a buffet bcl and a realtively open Schreiber 7* mouthpiece. My first problem is that I can barely get above 440 pitch with this setup. (Especially a problem with classical tuned pianos in Vienna) My second problem is, that b, c, c#, d, and d# in the second register are far low-pitched and it's very difficult to get them higher.
Do you have any tips for me what I can do to get rid of this problems?
Thank you very much and all the best from Vienna,
Leo
So, I should first mention that I don't know that mouthpiece. But the first question should be, with any problems with stuff like this: is it the instrument, or is it me? First troubleshoot your equipment: Try a different mouthpiece. Borrow a friend's bass clarinet and try it with your mouthpiece. What do you discover? If it's the mouthpiece or instrument that seems to be the problem, the answer becomes one of making a decision: Should I have my instrument worked on? Should I get a different mouthpiece? (Not easily answered questions, mind you. But at least you know where the problem is).
That all said, generally speaking, if the problem is minor, you can handle pitch issues with your sound production and adding/removing fingerings to certain offending notes. Obviously, no instrument is ever perfectly in tune. None. Some are worse than others, and my observation has been that the newer the model, the more tuning issues have been addressed by the manufacturer.
Ok, so how do we adjust pitch on the instrument note-by-note? Well, on notes that are sharp, you can add keys to lengthen the tube without changing the fundamental pitch. Example: if your open "G" is sharp, you can add a keys on the right hand to bring the pitch down. If it's flat, you can open up the side D# and/or F# trill keys. But it becomes more of a problem when you're already using most of your fingers (like on the notes you describe, Leo) -- there's not much you can do about using fingerings or opening up vents when those notes are flat. (If they were sharp, you could handle the problem with your sound production in your mouth. It's easier to make notes lower with your embouchure than to make them higher).
But, what do you do if their instrument is flat? Well, I have a pair of Selmer Signature Bb/A clarinets, and I have a really nice Kaspar mouthpiece that I picked up. Together they sound amazing, but very, very flat. So, I call Morrie Backun and asked him to make me some VERY short barrels (For example, I now have a 59mm Bb barrel). I also have a bell that has a hole cut in it. The combination of these bring the instrument up to pitch (but create more minor issues with the scale that I manage with fingerings like I describe above).
With the bass clarinet, you could get someone to make you a short neck. Martin Suter from Switzerland makes necks for the bass clarinet that are really, really good. And I bet he could manufacture you one that's a little bit shorter so that your instrument is altogether sharper. Here is the page showing all of the bass clarinet neck options. (This whole site is in German, but can be translated with Google Translate and it becomes fairly readable).
Martin also does bass clarinet work that can help you with intonation problems. I've never had him do any work on my instrument, but I have heard good things, and he's worked closely with Ernesto Molinari, which bodes well for the quality of his work.
Another option is to work with a mouthpiece craftsman to have him/her adjust your mouthpiece (or make you a new one) that offsets the intonation problems of your instrument. This is likely the most cost-effective measure you can take, and probably the one I'd recommend you begin with.
Finally, if it seems to be you and your sound production, take some time to experiment with your tongue position in the back of your mouth. Is the tongue to low? Say "LLLL" -- feel the back of your tongue? That's what a low tongue position feels like. Now say "EEE" (or in german I think it would be "IE"), that's a higher tongue position. If you're more LLL and less EEE, start experimenting to see how that affects your pitch.
So to summarize:
If it's the instrument as a whole: try to change out your neck or have a mouthpiece made to correct the problems.
If it's just a few notes (this is normal): correct with embouchure and/or fingering adjustments
If it's you: practice your tongue position. Or, work with a teacher to have him/her help you with this.
Hope this helps. And, anyone with other tips, please leave them in the comments!
Hello Michael,
I want to ask you a question about the tuning topic on the bass clarinet. I'm playing a buffet bcl and a realtively open Schreiber 7* mouthpiece. My first problem is that I can barely get above 440 pitch with this setup. (Especially a problem with classical tuned pianos in Vienna) My second problem is, that b, c, c#, d, and d# in the second register are far low-pitched and it's very difficult to get them higher.
Do you have any tips for me what I can do to get rid of this problems?
Thank you very much and all the best from Vienna,
Leo
So, I should first mention that I don't know that mouthpiece. But the first question should be, with any problems with stuff like this: is it the instrument, or is it me? First troubleshoot your equipment: Try a different mouthpiece. Borrow a friend's bass clarinet and try it with your mouthpiece. What do you discover? If it's the mouthpiece or instrument that seems to be the problem, the answer becomes one of making a decision: Should I have my instrument worked on? Should I get a different mouthpiece? (Not easily answered questions, mind you. But at least you know where the problem is).
That all said, generally speaking, if the problem is minor, you can handle pitch issues with your sound production and adding/removing fingerings to certain offending notes. Obviously, no instrument is ever perfectly in tune. None. Some are worse than others, and my observation has been that the newer the model, the more tuning issues have been addressed by the manufacturer.
Ok, so how do we adjust pitch on the instrument note-by-note? Well, on notes that are sharp, you can add keys to lengthen the tube without changing the fundamental pitch. Example: if your open "G" is sharp, you can add a keys on the right hand to bring the pitch down. If it's flat, you can open up the side D# and/or F# trill keys. But it becomes more of a problem when you're already using most of your fingers (like on the notes you describe, Leo) -- there's not much you can do about using fingerings or opening up vents when those notes are flat. (If they were sharp, you could handle the problem with your sound production in your mouth. It's easier to make notes lower with your embouchure than to make them higher).
But, what do you do if their instrument is flat? Well, I have a pair of Selmer Signature Bb/A clarinets, and I have a really nice Kaspar mouthpiece that I picked up. Together they sound amazing, but very, very flat. So, I call Morrie Backun and asked him to make me some VERY short barrels (For example, I now have a 59mm Bb barrel). I also have a bell that has a hole cut in it. The combination of these bring the instrument up to pitch (but create more minor issues with the scale that I manage with fingerings like I describe above).
With the bass clarinet, you could get someone to make you a short neck. Martin Suter from Switzerland makes necks for the bass clarinet that are really, really good. And I bet he could manufacture you one that's a little bit shorter so that your instrument is altogether sharper. Here is the page showing all of the bass clarinet neck options. (This whole site is in German, but can be translated with Google Translate and it becomes fairly readable).
Martin also does bass clarinet work that can help you with intonation problems. I've never had him do any work on my instrument, but I have heard good things, and he's worked closely with Ernesto Molinari, which bodes well for the quality of his work.
Another option is to work with a mouthpiece craftsman to have him/her adjust your mouthpiece (or make you a new one) that offsets the intonation problems of your instrument. This is likely the most cost-effective measure you can take, and probably the one I'd recommend you begin with.
Finally, if it seems to be you and your sound production, take some time to experiment with your tongue position in the back of your mouth. Is the tongue to low? Say "LLLL" -- feel the back of your tongue? That's what a low tongue position feels like. Now say "EEE" (or in german I think it would be "IE"), that's a higher tongue position. If you're more LLL and less EEE, start experimenting to see how that affects your pitch.
So to summarize:
If it's the instrument as a whole: try to change out your neck or have a mouthpiece made to correct the problems.
If it's just a few notes (this is normal): correct with embouchure and/or fingering adjustments
If it's you: practice your tongue position. Or, work with a teacher to have him/her help you with this.
Hope this helps. And, anyone with other tips, please leave them in the comments!
Tuesday, May 19, 2009
Where to start when you're starting
I got this email from a gentleman who (understandably) fell in love with the bass clarinet... I'll let him tell it:
"Mike
I am a 51 year old amateur pianist who has become addicted to bass clarinet music
and want to attempt to learn how to play it. I have no woodwind experience.
Should I rent a "good" wooden instrument or settle for a plastic or hard rubber model.
Are there different reeds/mouthpieces that are easier to learn with ?
Thanks"
Well, I think that the best way to start would be to check out a decent rental Bass Clarinet to make sure you feel compatible with the bass clarinet in general. Go with your gut regarding wood/plastic. Take it for the month -- you'll get to know very quickly whether wood (or plastic, whichever you chose) is the right fit for the sound you want to get. Of course, given that you're new to the instrument, it'll be harder to determine, but with the help of someone who plays the instrument -- and this might be the same "someone" who will help you pick out your final choice -- you will probably be able to make some preliminary decisions.
Regarding reeds/mouthpieces. This is an easier decision: first off, check out the "mouthpiece" video on the site for a primer. I'd recommend something a little "closer" (you'll know what that means after the vid) to begin with. I'd say check out McClune's S1 instead of the S2 I usually recommend. (www.mcclunemouthpiece.com). Grab some Rico reeds of various strengths (1, 1.5, 2, 2.5) to see what works to begin with. Rico reeds are known to play pretty much right out of the box, but they'll die an earlier death than a sturdier reed, like, say, Vandoren. But right now you'll need some early successes to stay with it, so I'd go with the Rico.
Hope this helps!
Michael
"Mike
I am a 51 year old amateur pianist who has become addicted to bass clarinet music
and want to attempt to learn how to play it. I have no woodwind experience.
Should I rent a "good" wooden instrument or settle for a plastic or hard rubber model.
Are there different reeds/mouthpieces that are easier to learn with ?
Thanks"
Well, I think that the best way to start would be to check out a decent rental Bass Clarinet to make sure you feel compatible with the bass clarinet in general. Go with your gut regarding wood/plastic. Take it for the month -- you'll get to know very quickly whether wood (or plastic, whichever you chose) is the right fit for the sound you want to get. Of course, given that you're new to the instrument, it'll be harder to determine, but with the help of someone who plays the instrument -- and this might be the same "someone" who will help you pick out your final choice -- you will probably be able to make some preliminary decisions.
Regarding reeds/mouthpieces. This is an easier decision: first off, check out the "mouthpiece" video on the site for a primer. I'd recommend something a little "closer" (you'll know what that means after the vid) to begin with. I'd say check out McClune's S1 instead of the S2 I usually recommend. (www.mcclunemouthpiece.com). Grab some Rico reeds of various strengths (1, 1.5, 2, 2.5) to see what works to begin with. Rico reeds are known to play pretty much right out of the box, but they'll die an earlier death than a sturdier reed, like, say, Vandoren. But right now you'll need some early successes to stay with it, so I'd go with the Rico.
Hope this helps!
Michael
What to do with sensors
I have been trying for about 3 years now to come up with something interesting I can do with sensor-based instruments as an addition to my regular show. What's difficult about them is that I would like to somehow use them to engage the audience directly in the music-making going on, yet opening up this huge variable has made it difficult to control the form of each piece. Imagine that you've been handed a box with a bunch of sensors all over it during a concert. Well, you start to push buttons to see what they all do. My job is to make the experience clear to the user (in other words, they need to understand right away what each button or slider or whatnot does aurally). My job is also to make the resulting music interesting and cohesive for the rest of the audience. And, my job is to make the whole thing bulletproof, regardless of what the user does.
For me, this task is nearly impossible.
Most often, people remark that they can't really tell what's going on when they interact with the box (because I've made the musical response too subtle, like changing the reverb time or something). So, I figure, in order to make the action have a more clear effect, I need to make the rest of what's going on musically much more sparse. This will probably be what I try next -- more like a duet between me and someone in the audience. Stay tuned.
For me, this task is nearly impossible.
Most often, people remark that they can't really tell what's going on when they interact with the box (because I've made the musical response too subtle, like changing the reverb time or something). So, I figure, in order to make the action have a more clear effect, I need to make the rest of what's going on musically much more sparse. This will probably be what I try next -- more like a duet between me and someone in the audience. Stay tuned.
Thursday, April 02, 2009
Playing Electronic Music, part 2
Computer Music, once limited to universities with large budgets, has become much more prevalent in the past fifteen years, mainly because of the development of low-cost and mass-produced microprocessors.
Needless to say, to begin, you'll need a computer. Up until about eight years ago, the issue of "PC vs. Mac" was a real one. Nowadays, most software is available cross-platform. Still, I use, and recommend the Macintosh platform, using OSX.4 or OSX.5.
So, what do you need hardware-wise? There are many answers to this, but the most popular (and in my opinion, correct) is "As much as you can afford." This is true in most cases - not just with computers. Buying a lower-priced (and lower powered) computer just means that you need to upgrade sooner, so essentially, it all evens out in the wash. I recommend buying a Macbook Pro for live concerts for obvious portability reasons. Why a pro? Because, as of this writing, the non-pro version does not have a separate video card, but rather shares the processing with the main CPU. If you have any interest now or in the future to do anything with video, you'll pretty much be out of luck for anything but the most rudimentary video processing. Other considerations are getting as much RAM as you can (within reason), a large, and fast, hard drive (5400 RPM minimum, but most people go for the fast 7200 RPM drives for live audio), and if you need it, Firewire ports. More on that in a sec.
The main software package I use is Cycling74's Max/MSP (www.cycling74.com -- download for a free 30-day trial). Currently this software package is about $500, and it is by far the most flexible computer music program I've ever used. If you are a composer, you can create looping devices, effects plugins, samplers, synthesizers, interactive video, you name it. The downside: it's pretty heavy math- and programming-wise. Nevertheless, many composers have created pieces using this software that don't require you to purchase it, nor how to program in it. But, if you have any interest in computer music composition, you'll definitely want to check this software out. Other software you'll want to consider is Ableton Live for looping and loop processing, effects processing and improvisation-based pieces. Since the mac comes with Garage Band software, you'll have a simple recording/editing suite available to you, which you can upgrade to Logic if you need more power -- and the skill set pretty much transfers because Apple has based Garage Band on Logic, so they operate with the same basic paradigm.
OK, so back to the hardware. In order to get sound in and out of the computer, you'll likely want to have a sound interface of some sort. Many popular - and less expensive - of these interfaces are USB-based. They are often under $200, and they allow you to plug in a microphone to get sound in, and an amplifier to get sound out. USB interfaces used to not have the same throughput as Firewire interfaces, but that is no longer the case. Indeed, as Apple begins to abandon Firewire on their non-pro models, your computer will likely make the decision for you in terms of which to go with. Format aside, the most important feature you'll want to look at is high-quality microphone preamps. The lower-end interfaces have, well, lower-end preamps, and your sound quality will really suffer. You will notice that the "bass" end of your instrument sounds thin, and the midrange notes will sound strident or bright and tinny. I had one and I had to get rid of it. I sold it to a flutist... A popular unit is the Mark of the Unicorn (MOTU) Ultralite (firewire) This interface is about $400 or so, and has a good balance between size (it's a 1/2-space rack unit) and quality. Personally, I use the German-made RME Fireface 400 which has superior specs in terms of sound quality and noise. With this unit, I have 36 channels of input/output (8 of them via ADAT optical) with 2 mic preamps. It sounds great. These days you can find a Fireface for about $1,000. But like I said, there are MANY interfaces and your mileage will vary, both in terms of cost and quality.
Now, when you do a piece of computer music, how does the computer know when to do what - e.g. start the piece? Well, you need to have some means of communicating with the computer, and for that you have a number of choices. For me, I have a touch-screen monitor (thanks EBay!) and a footpedal that I made myself (I wanted something small and light). Others use off-the-rack footpedals or footswitches which are also cheap, plentiful, and good. Still others use mini keyboards (that usually plug in via USB, so you don't need MIDI). There are numerous options, but they all share one thing in common: they are controllers, not sound-creation devices -- i.e. they are not sound generators themselves. Regardless of what you get, suffice it to say, you're going to need something like one of these pieces of gear, or else you're going to have to be in constant contact with your computer with your toes. Of course there are exceptions to this (pieces which don't need user input in the way of "commands" and which just respond to the instrument). But, if you plan on doing any of the majority of works, you're going to need to invest in either a MIDI controller or USB controller. Fortunately, these are not too expensive - many under $150.
Finally, there are specialized pieces of gear that will be required for many pieces. Namely, outboard (i.e. not-inside-the-computer) effects processors, synthesizers or controller devices. Usually, though, the composer will either provide you with this gear, or you might be able to borrow it, or you might be able to replace it with a similar piece of gear. Or, you might just be able to program it into Max/MSP yourself!!
So, to summarize (this is for a decent setup):
Computer $2500
Audio/MIDI Interface: $500
Microphone(s): $800
MIDI controller: $150
(Sound) Monitor: $200
TOTAL: $4150
Since this is a large sum, you can get by without the monitor. That will bring your total to about $3950. A stationary microphone will bring the total down to about $3150. Etc, etc, etc.
Needless to say, to begin, you'll need a computer. Up until about eight years ago, the issue of "PC vs. Mac" was a real one. Nowadays, most software is available cross-platform. Still, I use, and recommend the Macintosh platform, using OSX.4 or OSX.5.
So, what do you need hardware-wise? There are many answers to this, but the most popular (and in my opinion, correct) is "As much as you can afford." This is true in most cases - not just with computers. Buying a lower-priced (and lower powered) computer just means that you need to upgrade sooner, so essentially, it all evens out in the wash. I recommend buying a Macbook Pro for live concerts for obvious portability reasons. Why a pro? Because, as of this writing, the non-pro version does not have a separate video card, but rather shares the processing with the main CPU. If you have any interest now or in the future to do anything with video, you'll pretty much be out of luck for anything but the most rudimentary video processing. Other considerations are getting as much RAM as you can (within reason), a large, and fast, hard drive (5400 RPM minimum, but most people go for the fast 7200 RPM drives for live audio), and if you need it, Firewire ports. More on that in a sec.
The main software package I use is Cycling74's Max/MSP (www.cycling74.com -- download for a free 30-day trial). Currently this software package is about $500, and it is by far the most flexible computer music program I've ever used. If you are a composer, you can create looping devices, effects plugins, samplers, synthesizers, interactive video, you name it. The downside: it's pretty heavy math- and programming-wise. Nevertheless, many composers have created pieces using this software that don't require you to purchase it, nor how to program in it. But, if you have any interest in computer music composition, you'll definitely want to check this software out. Other software you'll want to consider is Ableton Live for looping and loop processing, effects processing and improvisation-based pieces. Since the mac comes with Garage Band software, you'll have a simple recording/editing suite available to you, which you can upgrade to Logic if you need more power -- and the skill set pretty much transfers because Apple has based Garage Band on Logic, so they operate with the same basic paradigm.
OK, so back to the hardware. In order to get sound in and out of the computer, you'll likely want to have a sound interface of some sort. Many popular - and less expensive - of these interfaces are USB-based. They are often under $200, and they allow you to plug in a microphone to get sound in, and an amplifier to get sound out. USB interfaces used to not have the same throughput as Firewire interfaces, but that is no longer the case. Indeed, as Apple begins to abandon Firewire on their non-pro models, your computer will likely make the decision for you in terms of which to go with. Format aside, the most important feature you'll want to look at is high-quality microphone preamps. The lower-end interfaces have, well, lower-end preamps, and your sound quality will really suffer. You will notice that the "bass" end of your instrument sounds thin, and the midrange notes will sound strident or bright and tinny. I had one and I had to get rid of it. I sold it to a flutist... A popular unit is the Mark of the Unicorn (MOTU) Ultralite (firewire) This interface is about $400 or so, and has a good balance between size (it's a 1/2-space rack unit) and quality. Personally, I use the German-made RME Fireface 400 which has superior specs in terms of sound quality and noise. With this unit, I have 36 channels of input/output (8 of them via ADAT optical) with 2 mic preamps. It sounds great. These days you can find a Fireface for about $1,000. But like I said, there are MANY interfaces and your mileage will vary, both in terms of cost and quality.
Now, when you do a piece of computer music, how does the computer know when to do what - e.g. start the piece? Well, you need to have some means of communicating with the computer, and for that you have a number of choices. For me, I have a touch-screen monitor (thanks EBay!) and a footpedal that I made myself (I wanted something small and light). Others use off-the-rack footpedals or footswitches which are also cheap, plentiful, and good. Still others use mini keyboards (that usually plug in via USB, so you don't need MIDI). There are numerous options, but they all share one thing in common: they are controllers, not sound-creation devices -- i.e. they are not sound generators themselves. Regardless of what you get, suffice it to say, you're going to need something like one of these pieces of gear, or else you're going to have to be in constant contact with your computer with your toes. Of course there are exceptions to this (pieces which don't need user input in the way of "commands" and which just respond to the instrument). But, if you plan on doing any of the majority of works, you're going to need to invest in either a MIDI controller or USB controller. Fortunately, these are not too expensive - many under $150.
Finally, there are specialized pieces of gear that will be required for many pieces. Namely, outboard (i.e. not-inside-the-computer) effects processors, synthesizers or controller devices. Usually, though, the composer will either provide you with this gear, or you might be able to borrow it, or you might be able to replace it with a similar piece of gear. Or, you might just be able to program it into Max/MSP yourself!!
So, to summarize (this is for a decent setup):
Computer $2500
Audio/MIDI Interface: $500
Microphone(s): $800
MIDI controller: $150
(Sound) Monitor: $200
TOTAL: $4150
Since this is a large sum, you can get by without the monitor. That will bring your total to about $3950. A stationary microphone will bring the total down to about $3150. Etc, etc, etc.
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