Designing

Typically if I’m designing I’m listening to ‘creative’ music. Typically these are the songs that would get me the weirdest looks by people if they were around. Admittedly, a lot of this music is weird but that’s exactly why I choose to listen to it: it’s different. When I’m designing I’m obviously trying to think creatively and flowing. Metaphorically, I enjoy the creative, flowing avant-gardé nature of the music, but also appreciate the underlying structure which typically adheres to the rules of music. This is exactly the way good design is! Refreshing, flowing, and different, but while adhering to the standards of design—both social and natural laws such as line-width and -height.

Typically when I get an album that inspires me, I stick to it for a while until it doesn’t. For a while this was The White Stripes’ Get Behind Me Satan, which is still a monumental album in its rawness. For a while it was Jack White’s other band The Raconteurs and their second album. It truly depends on my mood at the time but others I’ve listened to while designing: Chevelle, Counting Crows, Dave Matthews, The Derek Trucks Band (check out their new album Already Free now), Evanescence, Five for Fighting, Hootie & the Blowfish, James Morrison, Jamie Cullum (this is a relatively new find for me), John Mayer, Kings of Leon, and even Tenacious D.

Coding

Writing code is another story. Arguably, the process of writing code is typically not as creative as designing, assuming you are coding an existing design. Coding is often simply repetitive tasks. Music I listen to during this phase of development typically reflects this. Often I’ll listen to music that, though sometimes repetitive, has a driving force that “pushes” me along. Examples include: NIN’s Ghosts albums, Blue Man Group (haha, yes), Deftones, Kasabian, The Killers, Rage Against the Machine, She Wants Revenge, and System of a Down. You’ll notice most of these are “heavier” than the ones I listen to while coding. Quite literally, I need that extra drive to fuel long, boring coding spells.

Feedback

What about you? What inspires you to creativity, or pushes you to develop your work?

What is a studio monitor speaker?

Studio monitor speakers are different from your average computer speakers. If you’ve even thought about getting into audio/music recording I’m sure you’ve heard of equalization or “EQ”. Typically, computer speakers are built to take the audio signal being put into them and equalize the sound, typically emphasizing certain sound frequency ranges to get a “good” sound. While for the average computer user, this sounds alright to to them, it can be a nightmare when you’re trying to work with sound. The problem arises when you’re trying to finalize everything and are ready to release your work. With your speakers “auto-equalizing” your sound what you hear isn’t exactly what your audio sounds like. You may find that on someone else’s speakers it sounds awful. This is most likely because you adjusted everything to sound good on your system, but with your speakers modifying the sound themselves, your ears are really deceived.

That’s where studio monitors come in. Studio monitor speakers, as a class, are designed to offer the sound completely flat. Because of this, what you hear is actually what is, and sounds as close to what the sound actually sounded like when it was recorded. You can then modify the sound in your program of choice and rest assured that what you hear is what everyone else will hear (assuming their own EQ settings don’t screw it up).

Because they’re designed for you to monitor audio you’re working with in order to get it perfect, you can expect a wide frequency range and the ability to handle very high quality audio signals.

A recommendation

I’ve been using a pretty cheap but high quality (for my purposes) set of Behringer MS40 studio monitors. Behringer is a pretty well-known company in the audio industry as they produce all sorts of products, including MIDI sequencers, microphones, and studio monitors. We’ll focus on the latter for right now, but it is possible to combine their various products into an affordable, more than decent quality home studio.

You can find them pretty cheaply online. Unlike most studio monitors, they are actually sold in a set and include a built-in amplifier–meaning you don’t necessarily plug them into a big amplifier stack. You should check Google for prices. Typically they range between $100-200, which is dirt cheap for the quality these speakers can give you if setup right.

Let me be clear: these aren’t the absolute best sounding studio monitor speakers you can buy, but they are most definitely one of the best sounding studio monitor speakers you can buy for under $200.

Setup is pretty easy. These are active speakers, meaning they must be powered by the provided power supply. It accepts two types of input: analog and digital, two at the the time. This means it can mix together sound from either two analog inputs, or one analog and one digital. For you being a beginner you’ll probably be using the analog RCA inputs (the red and white cables you plug things into your TV with, most likely) or the 1/8″ (3.5 mm) input, which is similar to what you’re used to with normal speaker signal wire and things like consumer earphones. You’ll need to purchase a cable for whichever one you choose.

A note about connecting straight from your computer or iPod: you’re probably going to notice some extra fuzz or hum in your sound. Generally these devices do not output as high of quality audio as these speakers are capable of producing. Because of this, you’re probably going to want to connect them from an external device. I’m using a small, affordable mixer which I’ll post about sometime soon. However, if you’ve no need for such a setup but still want high quality sound you might look into USB-powered external sound processors. These devices connect to your computer via USB and are essentially an extra, dedicated sound card.

There are a number of ways you can go here. If you’d like to further build your studio using professional, industry-standard Pro Tools software/equipment you have reached a crossroads. In order to use Pro Tools you need some form of Digidesign (the company who makes Pro Tools) interface–which just happens to do exactly what we need here. I am using an M-box 2 Pro, which allows me to use Pro Tools on my workstation, but also serves as this needed dedicated, external sound card. Unfortunately this carries a large pricetag. If you’re not ready to go the Pro Tools route (yet) you might consider the PreSonus Audiobox USB, which Paul Stamatiou mentions on his studio monitor speakers article. Either of these options also includes MIDI capability, which will come in handy in your home studio, no doubt. I’ll post more about using MIDI in the future.

Overview

There you have it. Studio monitor speakers are just one piece to the home studio puzzle but they’re a pretty big piece. Not only do they help you refine your sound while you’re recording your work, but they make almost anything else sound great. They’re a great place to start on a home studio or even just to enrich your everyday audio experience.

Feedback

This is the first in my series of home studio articles. Any kind of feedback would be greatly appreciated.

Some things are going to change around here.

For one, there will be some design changes, but that’s just typical for me to change a perfectly fine design for another for no reason. Don’t expect anything too drastic–just some minor realigments.

Second, and most importantly, content shift. Next month I start my Music Production Technology program. Obviously music and technology interest me—both things separately, and in all places where they intersect. In the past I’ve written about different music I was listening to and about things such as how to plug an electric guitar into a computer, and from the statistics these topics have spurred the most attention. I tend to get at least 10 hits from Google a day from the guitar article. There’s obviously interest in this area, and it is my area.

Because of this, starting soon this blog will become, although still my personal blog, largely covering technology, music, and the spaces they intertwine. I don’t know if I’ll ever come up with a new name and move those posts to a site more accurately named or not. For the meantime I’ll just do all of that writing here. We’ll see what happens.

Although the album has been out a few years now I’ve only recently gotten around to obtaining it because I’ve been trying to manage my money more effectively and get some things out of the way. That being said, I’m sorry I waited—this album is worth every penny.

The album isn’t the typical Counting Crows live album such as Across the Wire or the live disk of the August and Everything After re-issue. Those albums feature the typical early Counting Crows set with songs like Mr. Jones, Anna Begins, and Sullivan Street. The setlist of this album is a matured one that breaks free from their earliest successes and embraces not where they came from, but where they’ve managed to go.

For the most part, I didn’t recognize the songs. A Counting Crows purist might scoff at me for that, but I’ve only really dug into the band’s music over the past year—and generally starting from the latest album and going backward.

Rain King. The album starts off with Rain King, a classic Counting Crows song. However, this isn’t anywhere near the original song from their first album—it’s better. I’ve always thought the original had too much going on in it at once, and other live versions I’ve heard of it were even more overbearing. The main problem I have with those versions is the music—particularly the overdriven organ!—generally overpowers his vocals in emphasis, and you miss the lyrics—which are very nice. The version of Rain King on this album is very close to the acoustic version featured on Across the Wire, and is really a pleasure to listen to.

Richard Manuel Is Dead. The second song in the set is Richard Manuel Is Dead, which is actually a different name for the same song If I Could Give All My Love off their album Hard Candy. Although this song is a little heavier than the opening song before it, it’s still relatively easy listening.

Catapult. For most of this song the focus is entirely on Duritz’ vocals—which are particularly strong—but in the latter half the tempo and volume picks up quite a bit. It’s still listenable, though, and features some pretty great guitar work.

Goodnight, L.A. Although this isn’t my favorite version of the song, the version of Goodnight, L.A. featured on this album is very nice. I’m a big fan of the lighter, piano-driven songs by Counting Crows. Duritz excels in these songs because of the sheer amount of feeling and emotion he can express vocally. The lyrics to this song are particularly moving to me, as I can relate (though I don’t live in L.A.—yet!). I especially love the line “It seems like the daylight is coming / And no one is watching but me”. Absolutely killer.

Four White Stallions. Possibly my absolute favorite song on the album, and also one I’d never heard before. Though it’s a lot louder than the track before it, it gets all the right moments right, especially the spine chilling moment where he sings “There’s nothing left of me and her / Nothing more than a heart still at war.” Gets me every time.

Omaha. I’ve never really liked Omaha in any form of it. Your opinion may vary, but I’ve just never really been a fan of it. The version on this album is not too much different from the others you’d hear on their other albums.

Miami. Something about this song really gets me moving. I think it’s the pace of it and really nice guitar work. Very much worth a listen!

Hazy. A classic Duritz piano piece much akin to Raining in Baltimore. My guess is this is the break in the set for the band and Duritz had to throw in a quick, quiet piece to keep the audience mesmerized. And he does just that, very, very well.

Good Time. Hazy is followed by a very good, but different song. The thing that most stands out to me in this song, probably because I’m a guitar player, is the phenomenal guitarwork. While the guitarwork is reserved to certain moments, when there is a guitar moment it is powerful and performed very well. I imagine I’ll be trying to cobble together the right effects to achieve the guitar’s tone for quite a while.

St. Robinson in His Cadillac Dream. Much like Omaha, I’ve never really been a big fan of this song. Again, I’m not sure why, it just doesn’t appeal to me very much. Again, your opinion may vary.

Perfect Blue Buildings. A classic Counting Crows song—one I don’t mind if they play to death. There’s nothing really spectacular about this version over any other live version—they’re all worth checking out.

Hangin’ Around. Wow is a pretty good word to use here. This particular version of the song has some amazing, but different piano work. I imagine it’s not Duritz himself playing (not his style) but it certainly is interesting. In certain moments it’s actually just stylistic, rhythmic banging on the piano.

Goodnight Elizabeth. Another classic Counting Crows song, but executed very, very well. In this particular version, the song becomes an anthem, with several moments of the crowd singing “Goodnight Elizabeth” while Duritz looks on. As the song winds down, it gets a typical Duritz treatment—improvised lyric changes. Of all Counting Crows songs, this song is probably the one that receives that treatment the most. Considering how good he is at it, I don’t mind at all.

Hard Candy. Another song from their album of the same name. Again, not really a favorite of mine but the version on this album is still pretty good. Though very loud, it breaks well into the last song of the set (and my favorite).

Holiday in Spain. Another great piano song with great vocals. As I said before, Duritz excels at this type of song because of the amount of emotion he’s capable of expressing vocally. Apparently the crowd shares my opinion because halfway through it there is a brief pause in the music and the audience goes wild. Duritz has to wait and shush them so he can finish playing the song.

Conclusion

So there you have it, Counting Crows’ New Amsterdam: Live At Heineken Music Hall album. Overall I’d give it a 5/5 despite the few tracks I didn’t like—the others are just that good! Be sure to check out the album on Amazon.

Bye, folks.

I have to admit: I was originally a very harsh critic of John Mayer. I disliked his music for the same reason I initially disliked James Blunt’s music: high-singing men singing soft songs just wasn’t attractive to me. I would attribute most of his fans to obviously be teenage girls wooed over by his good looks, charm, and the fact he could play an instrument. Because of this, his album Heavier Things never caught more than a glance from me at the music store.

A good amount of time passed without me hearing any John Mayer, other than the over-played pop hit Your Body is a Wonderland that basically every young girl in the world with ears fell in love with. Apparently, Mayer was very busy in this time. While watching an episode of the popular FOX show House I happened to hear Mayer’s Gravity, off the then recently released Continuum album. This song caught my attention because it was absolutely nothing like my ‘idea’ of John Mayer. In fact, I didn’t even realize it was him until I looked up the song.

I discovered his then new album Continuum was nothing like the John Mayer before. He had re-invented himself. Gone were the acoustic pop rock songs, replaced now with bluesy, songs with deeper meanings and more soulful vocals. Mayer was growing in both music and himself.

Alongside his solo ventures he had formed another band called the John Mayer Trio, which played exclusively blues music. It took me a little while to realize they were actually quite good. In the Trio’s songs Mayer shows a mastery of the guitar hinted at, but not completely shown, in his solo works. The Trio does a number of cover songs such as Ray Charles’ I Got a Woman, several songs from Mayer’s solo work, as well as some songs original to the Trio. One such song, Who Did You Think I Was?, explores Mayer’s new mindset, challenging the world’s idea of who he is. As Mayer states in the lyrics:

I’m a shifter of the shape I’m in
Who did you think I was?
[...]
Am I the one who plays the quiet songs
Is he the one who turns the ladies on?
Will I keep shining till my light is gone?
Who did you think I was?

On December 8th, 2007, all the personalities of John Mayer were displayed back-to-back in one dynamic, 2-hour concert at the Nokia Theatre in L.A. The concert was filmed in high definition and has been released on DVD, Blu-Ray, and 2-Disk Audio CD form under the name Where the Light Is. On the Where the Light Is trailer, John Mayer states:

“That’s the thing with people knowing anything about you before you meet them. Is that you have to work just to get people back to knowing nothing about you. So, it would take me an hour at this point, to ease someone’s mind into knowing nothing about me.”

Mayer more than does this in the 2-hour concert featuring an acoustic set, a set with the Trio, followed immediately by a full-band set. The concert is absolutely amazing, showing the different musical stylings of Mayer as he tirelessly transitions from one to the next.

John Mayer is a bright musician with an uncertain future—but he prefers it that way. Wherever he decides to take his musical career, he’s shown his ability to excel in whatever sound he desires.

If you haven’t already, you should definitely check out the Where the Light Is concert DVD or Blu-Ray disk. Very good stuff.