Tag: music

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Exile In The Sunset

Well I finally finished everything up and I’m hoping by Monday that my new album will be available in iTunes. In the mean time you can listen to the album down below. There should be actual CD’s available within a month. If you like Joe Satriani and Yngwie Malmsteen you’ll probably like this album. If you don’t, well you may not, but that doesn’t matter to me.

I recorded the album myself in my home studio that I wrote an article about on my music website saundhaus that talks about how when I first graduated from college with my new degree in audio recording it would have cost me over $500,000 to have what I have today. Over time prices go down and now I think my entire studio cost me less than $5000.

I played all the instruments on this myself and created the artwork for the album and now I’m doing all the marketing myself. I don’t have time to put a band together and play live anymore, but I still have a need to make music. My hope is that at the very least people will like my music and purchase it. I’m kind of a nobody so there’s not going to be having a record release party at Amoeba Music, but I might try and get them to stock a few CD’s at least. When the CD is finished it will be available through my saundhaus website, amazon.com and supposedly Target as well.I have yet to find my previous CD at Target, but I still check every time I go. Enough of that though. It’s time to stop talking and start rocking. Enjoy!

Oh, and if you follow me on Twitter you’ll get a code as soon as the CD is out to get a 30% discount off the CD.

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New Album: Exile in the Sunset

Well, I spent my labor day weekend laboring and I’ve finally got enough songs to put out my next album. It is going to be called Exile in the Sunset because no matter where I go I always end up back in the fog and gloom of the Sunset District. This is another hard rock album that if the names Joe Satriani, Steve Vai, Yngwie Malmsteen and Stevie Ray Vaughn are names you know then you’ll want to check this one out, because they’ve all influenced me.

I’ve got thirteen songs this time and they cover the hard rock versions of blues, classical and just plain guitar wanking/shredding. Part of this is probably due to the fact that for awhile in the late 70’s/early 80’s I had a guitar teacher when I was a teenager who was Joe Satriani. He came out to San Francisco and with a band called the Squares and was teaching guitar to earn a few extra bucks. It was the best money I ever spent. Joe taught me how to move my fingers on the guitar as no other person could. He also taught me how to coordinate my two hands on the guitar to work together which took me awhile to figure out how to make two different parts of me do the exact same thing at the exact same time which made me play much cleaner.

I also have to thank my college professor, Dr. Robert Mortenson who taught me composition. Granted, it was from a classical background, but he taught me how to think about what the other instruments would and should be doing when you composed a piece of music.

Note that the picture isn’t the actual album cover, but more of a place holder for the actual cover that I’m working on right now. If you click on it you can get a free copy of a song on the album called Day in/Day Out. It’ll give you an idea of what the album will sound like. If you’re interested in my music you can find it in iTunes and you can purchase CD’s if you still believe in that ancient format can visit my website: wwww.saundhaus.com and actually purchase CD’s by clicking on the cover photo of the album. Not all of it is rock as I’ve got an odd Danny Elfman, orchestral composer side to me, but check it out. I hope you enjoy it!

Oh and last, but not least…HAPPY BIRTHDAY TO ME! I’m another year older, but I feel like a kid.

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Bringing my Music into the 21st Century

As many of you have been aware, I’m a musician. I started playing piano at seven years old and moved over to guitar at 15 and have played in addition trumpet, flute [which taught me how to fight], harpsichord, organ [no jokes!], clarinet and cello and got into symphonic music so I moved on to synthesizers. In the beginning synthesizers sort of imitated the instruments they were supposed to sound like, but never quite did a perfect job. There were a few people like Isao Tomita and Wendy Carlos who could do classical music that was passable. It even got them quite a bit of fame. Tomita was my inspiration behind my version of Mars, Bringer of War by Gustav Holst.

Inspirational people like this led me to study music composition in college. I ran the electronic music studio as San Francisco State for a couple of years that led to me creating a piece called Armageddon that was featured at a World Electronic Music Convention in Italy in the early 80’s.

That still wasn’t enough. That was electronic and experimental not orchestral. He’ll, I didn’t want to be the orchestra leader, but the entire orchestra myself. So I decided to start out easy in the SFSU Electronic Music Studio by recomposing the Brandenburg Concerto by Bach. I wasn’t really playing anything because back then I didn’t know enough about being an orchestra to play parts of a larger piece that weren’t the melody. So I actually typed in the entire piece on a musical keyboard. Instrument, by instrument. It took me a couple of months and when I was finished I played it and realized, I had lots of typos that while you can excuse them a bit in writing, in music it becomes painful to the ears. So I went back and checked my musical typing into the sequencer, found the mistakes and corrected them. Then I carefully chose the sounds to use to for the strings, flutes, clarinets, trumpets and all the other instruments. Sometimes I had to tweak the patches to make them sound better. In the end, it sounded electronic, but much better that what I had heard before. I felt like I was now in the same category of Tomita and Carlos. Then the day came that I presented it to the class.

The teacher scowled at me, THAT’S NOT ELECTRONIC MUSIC! THAT’S JUST REPURPOSED CLASSICAL! He and everyone else in the class thought it was very good though. He did have a point. Most of the other electronic music was atonal, arhythmic and sort of sounded like banshees and noise on a bad day. But what could I say, I was a pop star of a weird music genre.

OK, I didn’t write it, I didn’t even play it, but it was a start. When I finally got my first pair of real synthesizers and now had an understanding of how to create the sounds I started tinkering with them. It was late one night on a weekend and I had a few shots of scotch in me at the time and a melody came into my head. It had me at first thinking of a battle scene in a movie starting out slowly like when you hear the sound of horses running off in the distance and then they get louder as they get closer and closer and the music get’s louder until you see a large group of warriors on horses coming over the hill screaming and entering battle. All the other parts just fell into place and I think the entire piece was finished in an hour. I called it Victory. It had a feeling of some of the impressionist composers that caused riots when their music was first played along with a nod to Danny Elfman’s orchestral work. It was only about four minutes long. Not exactly enough to be released as a single, so I thought up an idea of turning it into a nine part symphony even though most symphonies had four parts and sometimes three. In the end it was called Symphony of the Nine Angles and I ended up using inspiration from H.P. Lovecraft and the derivative writings of Dr. Michael Aquino and Don Webb. It’s a pretty dark sounding piece of music, but since I was into the darker shades of hard rock and metal it sort of fit.

Next came my CD the Vampyric Suite which was four pieces expressing different aspects of vampires [Anne Rice and all her spin off fanatics were popular at the time] plus Munsalvache [a torrential sounding solo organ piece] and my versions of Night on Bald Mountain and Mars, Bringer of War. So there I was surrounding myself with darkness once again. After that I sort of hung up my classical composing for a long time focusing on getting my hard rock album out. Now that I have a daughter she likes to play on my keyboards and make her own music that I have to say at four years old sounds a whole lot better than some of the stuff that was coming out of the SFSU studio in the 80’s.

This got be back to playing with the synths again and there’s always been one piece that I’ve always loved as a child that I’ve tried in the past, but never been able to do well — The Sorceror’s Apprentice by Georg Dukas. I present that to you now. It will need to be reworked though because unfortunately my synths are at least 15 years old some even older. So the sounds, while good aren’t that good. Hell, you don’t even need synths now, just a keyboard to trigger the sounds on a software synth or sampler that’s running on your computer. So I’m saving up my money to get a copy of MOTU’s Symphonic Instrument. These sound great and they will do this piece justice so that I won’t have to deal with the woodwinds sounding like an accordion. I’ve always been a big fan of MOTU’s products and have used them since the beginning. I run Digital Performer and use their MOTU 828 interface to my computer and the sound is excellent. I’m not going to ask you for donations to get it. I’ll find a way to do it. Hopefully this will inspire me to produce another orchestral album in the near future. While retro music is great for some people, I really need to get my sounds into the 21st century. Give a listen to my version of the Sorceror’s Apprentice and tell me what you think. It’ll get better with the new sounds.

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Musical Technology Evolves

After an experience I had yesterday morning I decided that a look at musical technology was in order. Being a guitarist and keyboardist I’ve got an arsenal of gear in my house. It used to take up a whole lot of space and it cost me an arm and a leg to get it. I’ve pared down over the years because the technology has increased. I used to have a Marshall Stack that cost me $800 for the head and $400 for each of the two cabinets. I sold them both to get a PODxt Pro which gave me a choice of 32 different amp models plus 22 different cabinets plus a huge selection of effects and modeled mics for the cabinets to get the same studio sound for $799. They now have a newer version that does even more for $300 less. They say modeled because they can’t say duplicated, but when a friend of mine came by and told me the amps he wanted to play through and what setting to give it he was surprised at how close it came.

Now it’s time to up the ante. Yesterday I just happened to run across a few iOS apps for the iPad that bring the price barrier down even further. In the early 80’s there were two synthesizers that were vying for the top of the heap as being the best and most expensive synthesizers in existence. These were the Synclavier and the Fairlight CMI. You have to remember back in these days most computers had about as much power as your bottom of the line cell phone and they were big, fat and ugly. While the Synclavier has sort of fallen away into the history books, Fairlight CMI decided to take a step forward. The original Fairlight CMI cost around $40,000. Well outside the range of the average musician. Now Fairlight has release the Fairlight CMI II as an iPad app for $9.95. You can get the pro app for $49.99 or if you bought the cheaper version through an in app upgrade of $39.99 and this included the entire CMI III sound banks.

Granted you have to deal with 80’s styled synth sounds, but retro has always been cool. The other downside is that you have to deal with the same interface as you did in 1980, but at least it’s on an iPad which makes it a bit cooler. The original used to take up the equivalent of a six foot table with a large box underneath that you had to insert 8″ floppy disks into that were a bit on the fragile side. Now you can hold the entire thing in your hand and walk around using it. Very cool in my book and I’ll be getting a copy of it soon.

The next piece of software is the Mellotronics M3000 that recreates the original Mellotron built by a British company in the 60’s that you’ll all know as the flute sounds in the Beatles, Strawberry Fields. It was the first sampler that used blocks of audio tape that had the recorded samples of the instrument and it was rather fussy at times and the tapes wore down. Now it’s on the iPad and you don’t have to worry about the tapes wearing down because it’s all digital. This is a really good version of the original seeing as the builders of this app have joined forces with the original Mellotron makers to perfect it.

There are lots of other synth programs for the iPad like NLog and Rebirth [being a fraction of what the desktop version is] that offer MIDI interfacing so you don’t have to use the iPad screen to make the music and there are lots of apps out there for the iPad that works as recording studios letting you record anywhere from 4-16 stereo tracks.  This is something twenty years ago that no one would have believe to be possible. If you’re not a synth wizard, but a guitarist or bassist you can always download Amplitube and turn your iPad into any one of a number of amps for literally pennies. Granted for most of these things you’ll need a few extra bits of hardware, but I can definitely see now that we’re entering into the post-PC world as Steve Jobs said that in the next few years recording studios are going to shrink down to a table with an iPad or two plugged into a speaker system and be very streamlined.

Somewhere in the mid 90’s I wrote an article on my music website, saundhaus.com that talked about Audio for the Masses and how at the time for under $5000 you could put together a recording studio that would surpass the level of studios from the 70’s and even 80’s. Now today you can get an iPad for $499 and for another $100 add in what you need to make it pretty awesome. If you search youtube.com you might find a few people like this who are already using iPads to play concerts [now if they could just get the singers on key]. Life can be weird, yet amazing at times.

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SFGate gets Internet Radio

I caught a tweet today from Earbits that their deal with SF Gate [the Chronicle] has gone live. I was contacted a couple of weeks ago by them because I’m a San Francisco musician and asked if I’d like to have my music streamed through their website to readers of sfgate.com [hell YES!]

Well, I believe the tweet was a bit premature because if you go to sfgate.com you won’t find any mention of it, but if you go to sfgate.earbits.com you’ll get the station. I’m currently clicking through the songs in various categories and found it odd that for a station that is supposed to be based around the SF Bay Area indie bands that bands from Los Angeles, San Diego and Chicago are popping up. I did find some San Francisco bands though, but I feel there should be more. If any San Francisco bands are out there that read this contact me and I’ll hook you up with earbits so you can get your music heard.

I have my album I’ve Got a Guitar and I’m Not Afraid to Use It! on their playlist as well as my recent single Funk U, but I haven’t heard it yet on the station yet. They definitely need more local talent on there. I’m also a bit surprised at how they classify the music. I currently have the Hard Rock and Metal channel playing and there seems to be a definite lack of hard rock and metal there. I’m hearing a few ska bands and whinny emo-like bands with the occasional metal band thrown in and every other song seems to be from Santa Cruz punks called Seduce the Dead.

Earbits also includes a social networking aspect linking in with facebook and twitter so that you can share the bands you like with your friends and followers. It has potential, but needs more local bands to make it stand out as significant to the Bay Area. They also have apps available for the iPhone and Android so you can listen on the go.

 

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The day I knew I was in the music business…

I went over to my friend’s recording studio in the Richmond District one day a few years ago to help him fix some problems he was having with his mac. We were upstairs and and he was running all about and he came to me and asked me if I could take over for him in the sound check downstairs because he had to run out to the store and pick up a few things for the two guys he was recording downstairs. I didn’t think anything of it because I knew my recording skills were good and my friend Pete had taught me a lot.

So we go downstairs and I start looking at where he was so far and and I hear him say, “Arlo, Jack, this is Eric he’ll be getting you set up.” I turned around from the recording console to be staring in the face, Arlo Guthrie and Ramblin’ Jack Elliot. I believe I should have been wearing diapers at the time. The first thing that hit me, other than shaking a little bit were the words, “You can get anything you want, at Alice’s Restaurant.”

Shit, Fuck, OMG. I was being asked to do a sound check for Arlo Guthrie and Ramblin’ Jack Elliot. I wasn’t too big on folk music and at the time I looked like your typical metalhead, but still, these guys were famous musicians and I freaked a little bit. Would they think I totally sucked? Would they yell at my friend Pete for giving the sound check and prep for two folk singers over to a METAL HEAD!?!?!

I took a breath. They could see I knew who they were were and kind of laughed at the fact that a metal head would feel nervous around them. Thinking back that was kind of a funny moment all in all. I sucked it up and sat down at the console and checked the levels and adjusted the mics. Pete had a heater running in the studio to keep their bones warm and that was something I had to make a few adjustments for but the studio was practically air tight so we could turn it off once they got their end together along with me.

What seemed like hours, but was probably only about thirty minutes Pete came back and took over and I went upstairs to fix his computer. A couple of hours later they took a break and invited me down to have a beer in the backyard with them. So there I was a metal head sitting with two folk legends and a man who was in the rock and roll hall of fame for producing the UK’s first psychedelic song [that was Pete, if you can’t make the connection] drinking beer and just talking. It was just one of those experiences that make you realize that people are people no matter how famous they are and most of the time you can just walk up and crack a beer with them and chat.

No I will not yell “Freebird!” and hold up a lighter. Ya’ll don’t pay me enough to do that.

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My First Music Video!

Well it took me 10 years to put out my first hard rock album, so I guess I can be cut a little slack for taking three to get my first music video out. It’s for my song Seaside Strut from I’ve got a guitar and I’m not afraid to use it!

Oddly enough, while I’ve always been a big early adopter, I’ve had to cut back of late being married and having a daughter so I was really happy when HD cameras became available, but I actually didn’t even have to use on for this. I had some friends in Hawaii set me up with some footage of them surfing that they recorded in HD. It was really easy for me to put this all together. Why surfers? Well, when I wrote the song it kind of came to me after watching the surfers one day and San Francisco doesn’t have the nicest beaches for surfers. They’re pretty angry waves even if they’re small so they needed some angry music. Unfortunately filming at Ocean Beach gets kind of rare because I don’t surf anymore and the sunny days are pretty hit or miss. My friends had the waterproof cameras and did a great job on what they shot.

For me what’s the most interesting part is that prior to 2000 this wouldn’t have been so easy. We’re only talking a little over 10 years and now, today you can buy a computer that comes with audio recording software that’s decent, but not the best [it’s still better than what you could do 20 years ago] AND you get video editing software that comes with it. It’s only been a few days, but you’ll probably be able to do all this on the new iPad 2. How good it will be I’m not sure yet, but it’s definitely going to be a new wave for multimedia people. So on that note, enjoy the video and leave me some feedback. I know some of the readers are old friends of mine from college who went through broadcasting just like I did, so I’d like to hear what you think for my first time go around.

For those who want the technical specs, the song was recorded in Digital Performer and I played all the instruments. The drums are actually built in touch sensitive samples that I triggered through an external source [i.e. an old electronic drum kit]. The amp for the guitar & base is a podXT Pro which can replicate pretty much any amp out there. Final mixdown and mastering was also done through Digital Performer and then I brought the music into iMovie and basically tapped along with the song to determine where the cuts will come. Total time for getting the video together: 3 hours and mostly that was because I exported it twice and realized I had made a couple of errors. Enjoy!

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Where has all the music gone?

San Francisco used to be THE place for live music. We had clubs all over the city that had bands playing their own music, not just house “cover bands” but music that would end up leading them somewhere. We used to have big clubs like Wolfgang’s and the Stone that were the center’s of the metal scene to some smaller clubs like Mabuhay Gardens that was the center for the punk scene. You had bluesy bands like Tommy Castro and Johnny Nitro playing down at some of the bigger bars on Fisherman’s Wharf with the occasional shot at one of the dive bars in North Beach.

Today? What happened? My friend Jimmy Arceneaux shared a video on facebook a few days ago that had me thinking about this. Jimmy was one of the guys who did the booking for the bands that played at the Stone, Keystone Berkeley, One Step Beyond in Oakland and for the life of me I can’t remember the name of the place in San Jose as well. All these places are gone today.

Broadway Street in San Francisco had 5-6 clubs mixed in with all the strip clubs that were running full strength through the 80’s – 90’s and now there’s nothing. There would be other clubs that would pop up for a few weeks or months and then fade away. Why was that?

Well, I can only blame two things. Industrial music and hip hop. Industrial music was kind of like heavy metal with sounds of machinery added in. It was very heavy and raw and at first the bands played live. Then as they go more technologically proficient it became pretty close to impossible to perform live what they did in the studio because the electronic equipment didn’t put on as much of a show as four guys in jeans or spandex and leather depending on which decade you’re looking at. Hip hop was a bit different in that they would record their CD and then do another mix down without the vocals so it was more like karaoke for an established band. The first time I had to do sound for a hip hop band called Aztlan Nation they handed me a cassette tape and told me, “play it”.

I didn’t know what to do so after the first song ended I stopped the tape and one of the guys runs over to me yelling, “just let it play!” OK, that’s an easy job for an engineer to do. Drop in the tape, press play, kick back and drink your beer. I didn’t really have any work to do anymore. The clubs didn’t have to worry about having the right or enough mics for the band. You just hit play and sat back. I think I finally walked off the side of the stage at some point because they didn’t need me anymore.

Eventually, this led to the “dance club” phase where bands had become kind of irrelevant. If you had enough space to pack in people and didn’t need to have a stage or a band to argue with over payment [which was rare] you could just give a DJ $50 to spin some records [remember those black 12″ things and no, I’m not referring to a porn film] and people would still come. It was somewhere in the 90’s that the live music clubs started to close or turn into “dance clubs” where you just had a DJ. Bands now had a tough time to make it.

You could fill out lots of paperwork and throw out some of your hard earned cash to get city permits to play a free gig in the park, but that started to get old quick when bands had to pay money to get people to hear their music. None of the DJ at the clubs played much if any of the unsigned acts at the clubs. Bands that used to play at the bigger clubs like the Stone or Wolfgang’s now were left with playing at very small bars like the Nightbreak on Haight St. and they were lucky to get a free beer for playing.

Live music will never die though. There are starting to be a few places popping back up for the bands to play again. Slim’s has come back from the dead and there’s the Avalon and Thee Parkside, but we still need places for live bands to play that have a capacity of more than 100 people. If you find some places other than little dive bars let me know because a lot of the old bands are coming back and there are new bands popping up that need a place to play.

So now I want all of you to step away from your computers on Friday and Saturday nights and go out and find some good live music and post comments about it here. Any upcoming shows you think people should know about, let me know and I’ll let everyone who reads this know about them.

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