Posts Tagged ‘Line 6’

“Jefferson”

December 19, 2010

Here is a link to a song I just finished up last night. It’s called “Jefferson,” and it’s about the tiny East Texas town that my mother’s family have lived in for several generations. Mom lives there still, in the post-Civil-War house on the hill that I grew up knowing as my Pa-Pa and Boots’ house.  (My grandmother, the legend went, was small enough to fit inside a cowboy boot when she was a baby — thus the nickname).

The song is a piano ballad that contains a series of literal images from visits there in my youth. For you fellow recording nerds out there, I recorded it with Sonar and some software synthesizers by Cakewalk. I used plug-ins by Line 6 and Ik Multimedia, among others.  I used an AT 4047 as my main vocal mic, with a ribbon mic for background vocals, and Line 6 and Hagstrom guitars and my old Epiphone bass (with a “toaster” style pickup in it). Everything went through a gray market “Neve” style preamp.

Hope you enjoy it! You can listen to it as often as you wish at the above link; if you’d rather purchase it, you can do so via iTunes here.

Here are the lyrics:

Jefferson, by Christopher Ave

Hide inside the old clubhouse my Mama’s Daddy made
Fly beside me as I rush to the moss beside the glade
Climb up the narrow stairs that lead to the attic mysteries
Sit down upon the old green rocker and sing your melodies

Oh hear the mournful song
of the lonely midnight train
So near, it won’t be long
till the morning’s sad refrain

So come down with me to my history
With hopes displayed, where outside games were made up, lost and won
Just walk with me on those red brick streets
And see the way my worries were undone
In Jefferson

City kid of eight or nine with glasses on my face
The folks had split and I was fine with changing up my place
The town was where I lost my cares in a southern state of grace
and learned the life away from strife in an ancient, languid pace

Oh hear the mournful song
of the lonely midnight train
So near, it won’t be long
till the morning’s sad refrain

So come down with me to my history
With hopes displayed, where outside games were made up, lost and won
Just walk with me on those red brick streets
And see the way my worries were undone
In Jefferson

(bridge)
In Jefferson
the only time I saw
my paw paw cry
he’d lost his bride

So come down with me to my history
With hopes displayed, where outside games were made up, lost and won
Just walk with me on those red brick streets
And see the way my worries were undone…
In Jefferson

Line 6 offers new blog series on home recording

November 5, 2010

Line 6 has started a blog series on home recording. Find part one, about computer recording, here; part two, on microphones, is here.

Line 6 is a well established company best known for its Pod series of guitar amp simulators and recording interfaces. It also produces the Variax line of modeled guitars. I have and use many Line 6 products, which I find offer incredible variety and quality for the money. You can hear Line 6 guitars, modeled amps and effects all over my music.

SND video uses “Mad Designers” as music theme

September 24, 2010

Here’s a promotional video done in 60′s-era animation style by Brian Williamson to promote the Society of News Design’s 2011 conference in St. Louis. Brian asked me to produce a piece of music for the video, and I tried to come up with a Mad Men-esque sound to suit the visual style. (Which was a treat for me, as Mad Men is my personal favorite show).

For you musicians, I used Cakewalk’s Sonar, synths from Dimension Pro, a Hofner-style bass, a Strat with Line 6 amp and effect sounds and drum samples from Smart Loops.

Let me know what you think!

Second song on iTunes, Amazon: Serendipity

December 7, 2009

Photo by Tim Samoff

After some remixing and remastering, my second single, “Serendipity,” is now available on iTunes as well as Amazon.

Unlike “Copy Editor’s Lament (The Layoff Song),” “Serendipity” has nothing to do with the newspaper industry. I wrote “Serendipity” to make the point that some life development that may seem bad — even disasterous — can actually work out for the good. As I explained in this blog post earlier this year, I used flooding as a metaphor for the bad stuff; I wrote the lyrics after some particularly bad rain and flooding in the St. Louis area last year.

Musically, I was going for a Jeff Lynne/Tom Petty/George Harrison kind of sound, with jangly 12-string guitars and some (for me) expansive background vocals on the chorus. For you recording fanatics, I tracked and mixed it in my humble Getting Better Recording studio using Sonar, an Audio-Technica 4047 microphone, a Line 6 Variax guitar, a Hofner-copy bass from Rondo Music, a Groove Tubes preamp and a bunch of plug-ins from IK Multimedia, Line 6, Antares, Cakewalk, etc.

In the end, it still sounds like a Chris Ave song, for good or ill. In any event, I hope you enjoy it!

Excellent Line 6 guitar amplifier plug-in – for FREE

September 1, 2009

pod farm

Click right here for your FREE copy of Line 6′s Pod Farm plug-in. This is the essence of the company’s groundbreaking amp and cab modeling technology – and for some reason it’s free. I’m not sure how long this is going to last, but at this point it’s a no-brainer!

Pod Farm includes modeled amps, cabs, preamps and effects — everything you need to get dozens of working tones out of your guitar tracks.

I use Pod Farm, Line 6′s excellent Pod X3 and the company’s Variax guitars for almost every music project I produce. So if you’re a recording musician — or if you even THINK you may be recording music — don’t pass up this opportunity!

New version of iDrum iPhone app released

June 19, 2009

iphone app iDrum Major LazerYou’ve seen the iPhone app for Line 6 users. Now here’s another iPhone music app called iDrum Major Lazer that allows users to remix elements from a song by dance-track makers Diiplo and Switch. If you are into this sort of thing, it also includes laser sounds…

New iPhone app for Line 6 users

June 10, 2009

Yes, there’s an app for that…

line 6 iphoneWe all know about the explosion of applications for the iPhone. One new one caught my eye. You can now control your Line 6 Pod amp, amp modeler and Variax modeling guitar from your iPhone, using a new device Line 6 will manufacture and sell.

Line 6, the world leader in guitar amp modeling, is calling the device the MIDI Mobilizer.

If I understand it correctly, the device will work with the new iPhone app to allow users to control parameters of Line 6 amps, modelers and guitars remotely, using only the iPhone.

The announcement was timed to the much bigger announcement of the new iPhones. In this release from Line 6, company co-founder Marcus Ryle demonstrates how to change amp settings and even guitar tuning, all from an iPhone.

According to the release, Line 6 partnered with Planet Waves, which has designed the new app, called Rig Remote.

From the release:

“With the MIDI Mobilizer, the iPhone becomes the most portable and versatile editor and tone storage device for your Line 6 gear,” remarked Marcus Ryle, Line 6 co-founder and SVP of research and development, as he demonstrated a prototype this morning at Apple Inc.’s annual Worldwide Developers Conference. “Finding the perfect tone has never been easier.”

When used with Rig Remote, the forthcoming iPhone app from musical-instrument company Planet Waves, MIDI Mobilizer gives guitarists the freedom to control Line 6 Variax® digital modeling guitars and Vetta™ II digital modeling amplifiers.

Digital modeling technology, which was pioneered by Line 6, makes it “possible to put the sounds of hundreds of amps, guitars and effects into one system,” stated Ryle. Digital modeling “greatly simplifies the amount of gear needed for a guitarist to play a wide range of sounds.”

Line 6 Variax guitars accurately model the distinctive sounds of 25 celebrated instruments including electric and acoustic guitars, a banjo and even an electric sitar. Line 6 Vetta II amplifiers feature models of 80 guitar amplifiers, over 80 effects, and more. All models can be controlled with Rig Remote and adjusted in real-time via its realistic, amp-panel-inspired knobs.

Constructing a piece of music

February 5, 2009

Where does a song come from?

Paul McCartney has famously said that he woke up one morning with the melody to “Yesterday” almost fully formed, playing in his head. He went to a piano and worked out the chords that surround the melody — but he was convinced it was a song that was already written by somebody else. So he went around asking friends if they’d heard the song before.  (After realizing it was original, McCartney had no words; in fact, the song lived for a while with the lyrics: “Scrambled eggs, oooh baby how I love your legs…”)

Most of the rest of us aren’t quite so fortunate – or, to be sure, so supremely talented as Sir Paul. We have to work at making music.

I thought it would be fun to document the creation of a piece of music, to describe where it came from and how it was built. Before we begin, though, let me be clear: I ain’t no McCartney, and my very best song is infinitely more pedestrian and less creative than the absolute worst thing that man has ever written.

Got that? Good. Now let’s begin.

I set out to compose a piece of music (sans lyrics) to accompany a stunningly beautiful photo slideshow by my friend and colleague Tim Barker. Tim is a reporter and blogger for the St. Louis Post-Dispatch. He’s also a very talented photographer – in fact, he took the photos for my website. Given what little he had to work with in terms of subject, they are pretty amazing.

So here are his photos. As you can see if you clicked the link, they are from some of his travels. In this case, Tim wanted to create the actual slideshow; he wanted the music first, so he could marry the images and the sound together himself.

As I looked at his photos, I was immediately struck by the presence of moving water in many of the frames. The rhythm of murmuring water was what I was hearing. So I sat down and composed what I hoped would be a somewhat hypnotic riff representing the rhythm in my head  (NOTE: Hover over the sample with your cursor, and a new window should appear. Just click on the arrow in the new window to listen):

main-riff2

As you can hear, it’s a very simple pattern – arpeggiations of a D-minor chord played with the right hand, with descending and then ascending bass notes played with the left hand. I played it on my midi keyboard; the sounds are from a software synthesizer called Rapture, by Cakewalk.

While to me, that sound does suggest flowing water, I decided to add something more literal. I used a Roland soft-synth to reproduce a straightforward water sound, which I intended to use at the beginning and ending of the piece:

murmuring-water1

Note: If this were a straight journalism project, I don’t think I would use this emulation. It violates one of my guidelines for use of audio in journalism projects in that it could make viewers think it was the actual sound of the water pictured in some of the photos. If this were a journalism project, I would go record the actual sound of the water.

Although I had decided that the main riff would be the song’s backbone, I also knew that I needed some variety – some more sounds. The first thing I did is to find a good, dark strings patch:

strings

I decided that the piece would start with the sound of water, then move to the strings and then the main riff.

My thoughts then turned to percussion. Because I wanted the song to build, I decided to initially use a thin, artificial -sounding percussion pattern which would then give way to fuller, more realistic samples of a full drum kit. To make the transition less jarring, I faded out the first, artificial percussion track just as I was introducing the “real-sounding” drums. And finally, I used equalization on the “real” drums to cut the extreme highs and extreme lows – to make them sound a little closer to the obviously fake drums. Here’s how that transition sounded:

percussion-to-drums1

And at the song’s dramatic high point, I wanted to add some rock guitar. I set out to play something a bit dirty and sloppy, to counter all the precision of the  other tracks. In fact I might have been too sloppy — I rush some of the notes, which I could go back and fix but haven’t.  I used my Line 6 Variax guitar set to emulate a Les Paul Special, with P-90 pickups, through my Line 6 Toneport interface into a Line 6 software model of a Marshall amp. I added a good bit of delay to the recording afterward:

guitar1

Finally, after the crescendo of the guitar solo, I wanted everything to drop down quite dramatically, to almost nothing. How to make that transition? I decided to get a sample of a drum “crash” and reverse it, creating the sound of a fast buildup and a sudden silence:

reverse-crash1

Ok, you’ve heard the major parts of the piece – and if you’ve read this far, you’re probably more than ready to hear the final composition, which I built with Cakewalk’s Sonar Producer Edition multitrack software:

water1

So if you’ve actually made it this far, what do you think? How would you have done it differently?


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