The Problem with Winners

World records can’t be un-broken. Breakthroughs can’t be reversed. This would seem to be a good thing, and for the most part, it is. Someone being the “GOAT” is inspiring and motivating to nearly everyone. However, this one-way ratcheting of standards can have some consequences. Much like living in Manhattan, it is out of reach for mere mortals. This is because we as a society have always put a premium on the Winners.

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Blessed Assurance

cloud-897444_640It really isn’t enough to just be able to play the music. What we want is the confidence and control that allows us to play it, understand it, and even feel comfortable varying and modifying it on the fly. We want to be in the moment, with the music as our natural vocabulary, used in a conversation, both with the audience and with our fellow musicians.

We have all experienced this “flow” from time to time, seemingly able to calmly supervise the proceedings, unhindered by fast-moving events, panic or confusion. We can control time, at least internally, and place our ideas into this space.

How can we achieve this glorious creative trance consistently? 

I don’t think we can do this every time we perform, and even the most renowned artists often say it is a fleeting thing. That said, we can improve the odds that we will be comfortable and assured, even if we can’t expect brilliant moments every time we perform.

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Practice: From the Hip

625034_mTwo kinds of practicing

When working on a passage of music, it seems like there can be two different mental states we can assume. The first, a focused, precise, detail-oriented one, is probably the typical one we think of when we think of the idea of “practice.” Indeed, this is the kind of concentration we cultivate when learning new things, and it is very effective. Within this state, many of the principles we discussed in our previous series on practice are employed, such as repetition, isolating problems, correcting technical issues and strengthening our muscle memory.

There is, however, another kind of practice that is absolutely necessary for getting our music performance-ready. I call this “from the hip.” In this mode, we experiment with what happens when we just “go” and play as if we were comfortable and confident. (even though we probably aren’t) In this state, we are cultivating flow and confidence, but more importantly, we are learning what happens when we “let go” a bit.

Of course, what happens when we do “lower our guard” is all kinds of mistakes, possibly even a complete train-wreck. While this seems like a losing proposition, it is not. The reason it is useful is that the nature of the mistakes we make in this mind-state will completely different than those we make during concentrated practice. This information about what our hands “want to do” versus what we need them to do is enormously valuable.

It’s also important to realize that this flow-state is much more akin to a live performance than the meticulous, thoughtful practice mode. We must spend time in this area to be prepared.

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The Composition Process – Live Online Class

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Do you find yourself getting “stuck” when you are composing? Not producing the work you would like? These are the issues we will discuss in this live online class.

We will look at the natural flow of a creative process, along with the ways this healthy routine can get stalled. No matter the style of type of music you choose to create, this set of tools and habits can be used to get things moving forward.

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Using a cheap computer mic with your audio gear

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In order to do lessons on Skype or other video-chats, I need to pipe the sound of my grand piano, sequencer and other computer audio signals to the computer. For this, I use my MOTU interface and various preamps. I also need a headset mic/headphone so I can hear the other person, without putting their voice through the speakers (internet feedback/echo.) While there are high-quality head-worn microphones, I don’t think it is necessary for me to spend that much just for my voice in lessons.

Cheap computer headsets are everywhere, but with my setup, I need the signal to go through an XLR mic preamp, so I can include it along with the other audio going to the client. These headsets have an 1/8-inch plug designed for computer sound-cards. Upon doing some research, I found that these microphones require about 5v of bias power, delivered to the “ring” or middle conductor of the plug, with signal on the tip, ground on the sleeve.

The above picture  shows an adaptor I made with some soldering. I “sacrificed” a USB cord, which when plugged in to a phone-charging adaptor can deliver the 5v power. I then wired the signal to pin 2 of an XLR plug, while grounding pin 3. (“floating” pin 3 can invite RF interference, as the wire can act as an ungrounded antenna) A 22k current-limiting resistor was added between the power and the plug. (this may or may not have been necessary.)

Now, I can use the cheap, crappy headset mic with my otherwise decent audio rig!

Product Review: Waves Electric 88

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As a keyboardist with a lifelong love-affair with the Rhodes electric piano, I’m always intrigued by new virtual instruments simulating that classic sound. The one I use most of the time I bought many years ago from a developer called Scarbee, and I have been pretty happy with it. (Scarbee products have been subsumed into the Native Instruments product line, and I assume those samples are still part of the “Komplete” collection.) When Waves came out with their version at an introductory price of $39, I decided to take a risk and order it.
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Musings on Composition and “Thing-hood”

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When does something start being a “thing?” When writing music, I find this transition to be a very important moment, a bit like a birth. When a piece achieves “thing-hood,” it now occupies a new place in my mind. Continue Reading…

Problems with Digital Piano Reproduction Live

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Recently I played a gig where, for space purposes, I plugged my keyboard into a small PA system, along with the vocalist. The venue was very small, and there was no need or room for large speakers, and the volume would be low. This small PA did a decent job of making the singer sound good, but the piano sounded terrible. (at least to me) On this gig, it certainly wasn’t worth trying to fix the sound, but it brought up issues I constantly struggle with using a digital piano live.

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Two Computers

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Working on orchestra or other large-ensemble music using a sequencer can be very taxing on a computer system in terms of processor power, memory and disk usage.

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The End of the Artist

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What are the factors needed to make art? or, more importantly, good art?
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