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Songwriting and Philosophy
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Martin HD28 Acoustic Guitar (with Case) The HD28 is a newer version of the D28 with a few slightly different features, such as scalloped bracing and a Zig Zag back inlay strip. Just like the D28, the HD28 has an Ebony fingerboard, solid Spruce top, solid Rosewood back and sides, white binding, and a black and white rosette. Other features include a gloss finish and a hardshell case. |
Rode NT4 Stereo Condenser Microphone The Rode NT4 is a stereo condenser microphone with both XLR and mini jack connectors making it great for location recordings with many standard devices. Phantom power is required but ican also be powered via 9-volt battery. The two 1/2 in. capsules are in an XY arrangement, 90 degrees of each other. It comes complete in a case with a stand mount, windscreen, and custom stereo cables. Tweak: Want to know how acoustic guitarists get that wide, clean luxurious sound on audiophile records? They often use a pair of pencil condenser in a classic XY pattern where the two mics point at a 90 degree angle towards the guitar. Rode made a single mic that does this without having to use two stands. Great choice for the recording guitarist.
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When you listen to a piece of music that moves you, in one way or another, you have caught a vibe. It may make you want to dance, to sing, to smile, to pretend your gas pedal is the kick drum--you know the music has affected you in a way that is important. When you write a piece of music, you are creating a vibe that does this. The vibration is potential energy. You are creating an energy source. The important thing is the feeling, translating that through your hands to the keyboard to the computer. You know when you are "on to something"--it just feels right--and the song begins its mysterious process of propelling itself towards completion. I bring this up because there is a terrible tendency among electronic musicians to put using their equipment ahead of the STORY, the song, the feeling, the energy. This tendency is to be avoided if you are serious about writing music. On the other hand, when you are on the right track, the technology becomes transparent, simply a means towards the elucidation of this great idea you have. I have learned this lesson the hard way.
Sources of inspiration to write a great song arise out of great emotions, feelings and vibes. Of course, this is a simplification. Where do great emotions come from? Where do feelings come from? Do they come from inside me? Or from the outside? The naive answer is that these are indwelling happenings, like little jewels, that we bring out to show others. I like to posit a different view, that these sources of music inspiration are really something that exists within the invisible relations that connect people together. We are like radio receivers that "tune in" to a musical channel. Just reflect a moment on the music you really love and ask yourself why you like it. You can "relate" to it. The artist spoke in a way to you that "caught" you. I say you were just tuned to hear it.
So if its all a big radio wave, where is the station? How does one refine the tuning? Pull in the more distant and exotic channels? Are there muses? What are they really? Musical "geniuses" often recount their masterpieces came as a single vision, all at once. What was going on there? Yep, I'm gonna tell you. Read my articles. And today there are new questions: What's the relation to cyberspace? How is technology going to change the way we create music? These questions, I feel, will help tune the compositional tuning mechanism of the electronic composer.
To get you up to my speed quick, ponder, if you will, that Music is a universal media--the cyberspace of the emotions--much as how language moves out thoughts, music transports and packages our feelings. The whole thing is feeling and sharing. . To have something to write you must connect and feel. The one thing you can do to improve your musicality is to go out and live.
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