Good day
The boys and I have recently upgraded our band practice studio and all I can say is: wow a little paint goes a long way! It is essential having a creative space that has proper ambiance to inspire the artistic visions to manifest themselves and come into fruition within comforting walls. Who said heavy rockers don't know how to dust every once in a while? This recent upgrade was asssisted in a big way by our drummers sister Caroline, who has become one of my best friends over the years. Caroline manages an interior design compnay and was able to provide really top quality paint at a very low buddy rate.
We have a neighbouring band that is next door, Hey Pilgrim!, and typically we schedule our jam days so we dont over lap and cause sonic overload through the walls, as both our bands play through pretty heavy hitting amp stacks. It worked out great this time, however, because Hey Pilgrim! showed up right after my band, Last Relapse, finished a 4 song quick set. Usually we pass the torch when we are both practising with a 3 song band battle with excessive cheering and high fives after each of our 3 song sets--usually turns out to be hilarious and alot of fun. But this time, we had all the paint supplies and having the band show up really gave us the motivation to put down our guitar and pick up the paint rollers while we rocked out to our neighbours epic indy rock set. The cheering and hilarious comments were still in full effect of course and I must say, it was a hell of a fun way to paint a room with the whole band doing their part.
Our drummer came up with a great idea to put the tape of our band logo on the wall as we ran over it with paint rollers, leaving behind an incredibly epic band logo. I'm sure we will go over it again to make it stand out a bit more and also some of the paint peeled off when we removed the tape, which actually gives it a really cool grungy look.
This is just another fun creative project that the band has undertaken together. It will make a great scene for montage shooting this weekend.
Also on the band agenda, we are in talks with a local promoter to play a benefit concert for Mental Health Awareness week commencing May 6th to 12th. The concert will have participating bands cover Elliot Smith songs, an artist that was deeply affected by mental health issues and took his own life October. 21st 2003. I have been a huge fan of Elliot for a long time, he has been the soundtrack that has comforted me through hard times the way a close friend would lend understanding. I will be truly honoured to pay homage to an artist that has given me so much and raise funds for a great cause at the same time. Here is a little taste of one of the cover songs we plan to play for the benefit concert.
http://snd.sc/16yPznp
Have a great one guys!
Friday, 5 April 2013
Friday, 22 March 2013
Digitally Impoted
Hello All
This last weekend I made a very interesting discovery in the realm of Internet radio. I was browsing Facebook, as I rarely do, pouring through the stampede of messages thrown at me from concert promoters living mostly in Calgary—It can be brutal sometimes getting invited to all these cool events when you don't even live in that city anymore—I was intrigued when I came across an invite to tune into my friend and former musical collaborators radio showcase on www.di.fm. He was heavily promoting his show for a good reason: I tuned in and it was like having a personal DJ in my house while I was hosting a small dinner party with friends at my Wolseley residence.
When I was living in Calgary I was working in the audio industry and had close relations with the regional Bose dealer that led me to a great deal on a Bose Surround system that is wired throughout my place, so needless to say the bass was kickin' that night. The digital format of this radio station is great. I was able to cue it up on my phone and using the option to output through my apple wireless station: I had the station bangin' with to wires for my house guests to trip on with their full wine glasses.
When I was living in Calgary I was working in the audio industry and had close relations with the regional Bose dealer that led me to a great deal on a Bose Surround system that is wired throughout my place, so needless to say the bass was kickin' that night. The digital format of this radio station is great. I was able to cue it up on my phone and using the option to output through my apple wireless station: I had the station bangin' with to wires for my house guests to trip on with their full wine glasses.
I've been to many shows hosted by these guys DJ Coda and Phantohm Soundsystem, and they always play the kind of electronic music that flows nicely for a chill event without being too in your face with glitchy synth break downs. I was treated once again as I tuned into to the smooth Liquid Dubstep, UK Garage and Speed Garage tunes that were swelling with low end out of my speakers. I am quite new to the UK Speed Garage sound, but I am quickly becoming a big fan. My problem with classic garage or "speed-less garage" (haha) is that it is very slow—watching people dance to the slow rythym makes them inadvertatntly look very intoxicated because of its slow swagger style shuffling beats.
After a glass of wine with my friendly company, I over heard many compliments about the music that was accenting our party, so I decided to send a message to my Dj friend giving the text form of a solid pat on the back. He responded by giving me a shout out on his radio show, which was very unexpected as I almost choked on my sip of Vallpolicella—It was very awesome! One of the tracks that really stood out to me was by a group called DB; their track Joy is a really cutting edge amazing blend of Speed Garage, House and Dub accompanied by that signature 90's horn section that just makes the girls rush the dance floor. The track leads you in with its funking vocal track and then unleashes pulverizing garage bass-lines that are tamed by the smooth rhythm. Check it out below.
After a glass of wine with my friendly company, I over heard many compliments about the music that was accenting our party, so I decided to send a message to my Dj friend giving the text form of a solid pat on the back. He responded by giving me a shout out on his radio show, which was very unexpected as I almost choked on my sip of Vallpolicella—It was very awesome! One of the tracks that really stood out to me was by a group called DB; their track Joy is a really cutting edge amazing blend of Speed Garage, House and Dub accompanied by that signature 90's horn section that just makes the girls rush the dance floor. The track leads you in with its funking vocal track and then unleashes pulverizing garage bass-lines that are tamed by the smooth rhythm. Check it out below.
Perhaps the promotional tactics worked on this affected music fan, but now after enjoying a night of having a personal Dj in my place I've become completely spoiled. I now tune into the stations sprawling catalogue of new music and electronic Dj mixes every chance I get when I am at home and it's at an hour that my neighbours won't wish for a lightening strike to short circuit the power to my PA.
This experience has influenced my music listening habits and expanded my horizons to some very cool new music genres. I have heard about digital radio stations and have tuned in to Itunes radio often, but out of every song I like on the Itunes radio, there is usually 5 I don't like at all. Digitally Imported FM really lets me zone in on the genre that I want to hear and delivers a great bang for no bucks! I would recommend getting into Internet radio: it is a great way to discover new music and who doesn't want their own personal DJ spinning the dub-plates that are hot off the press.
Friday, 15 March 2013
Pump Up The Volume
I am currently in the market for a new guitar amp. Myself, like many guitar players, have many questions to answer in this market: The most predominant one being, do I go all-tube or solid state? There are many benefits to each that we will examine in this blog post.
Tube/Valve Amps
Tube amps are legendary for their unique warm tones; every tube amp has its own signature sound. The saturation from multiple stage vacuum tube amplification colours the players guitar tone in such a way that could never be digitized or recreated in an engineers lab.
Tube amps are a favorite among classic guitar players and those seeking a warm vintage tone. But these sweet tones come at a heavy price in the wallet and on the poor sucker caught carry this iron cast amp head to gigs—Hopefully you have roadies to tempt with beer for this! Allas, both of these factors are a mere sacrifice to achieve the classic tones that are different with each amp, getting boutique quality sounds in every piece of gear.
Solid State amps have come along way since the hair metal days! Solid State amps are made with the "modern" guitarist in mind and they are transistor driven. They are significantly ligher and embody a much different tone with more un-even harmonics compared to tube amps, which creates a more harsher dry sound. These amps are favoured among metal guitar players because the tonality is at the other end of the spectrum from the warmth and lush qualities of tube amps offering dark and compelling swells for metal playing.
These amps are much lighter and cheaper—so you wont break your roadies back or your budget! With modern advances in technology these amps are at the fore-front of getting digital modelling treatment. You will notice that many of these amps have an FX section, which offer controls for digital guitar effects—So you can leave a couple guitar pedals at home so it doesn't look like space-craft mission control. The amps work best with hum-bucking guitar pickups, so if you are a guitar player that uses this technology you might want to look into solid state.
A new emerging technology is taking studio guitar players by storm: Axe Fx|| is endorsed by some of the greatest modern guitar players and has been featured on some impressive albums. The tube amp purist will stay far away from this technology and many feel that completely turning your guitar signal digital is sacrilegious—I was included in this group until I heard the impressive leaps and bounds this technology has made. Digital modelling is the technical term and most units come designed to fit in 2 rack spaces. The units, especially the high-end, don't come cheap but they sure offer an incredible pallet of sounds.
Being a tube amp analogue purist I am looking at Mesa amp heads predominantly, but as soon as Axe Fx|| comes with tube amp integration in their amp heads it will be very tough to pass up that opportunity.
Solid State amps have come along way since the hair metal days! Solid State amps are made with the "modern" guitarist in mind and they are transistor driven. They are significantly ligher and embody a much different tone with more un-even harmonics compared to tube amps, which creates a more harsher dry sound. These amps are favoured among metal guitar players because the tonality is at the other end of the spectrum from the warmth and lush qualities of tube amps offering dark and compelling swells for metal playing.
These amps are much lighter and cheaper—so you wont break your roadies back or your budget! With modern advances in technology these amps are at the fore-front of getting digital modelling treatment. You will notice that many of these amps have an FX section, which offer controls for digital guitar effects—So you can leave a couple guitar pedals at home so it doesn't look like space-craft mission control. The amps work best with hum-bucking guitar pickups, so if you are a guitar player that uses this technology you might want to look into solid state.
A new emerging technology is taking studio guitar players by storm: Axe Fx|| is endorsed by some of the greatest modern guitar players and has been featured on some impressive albums. The tube amp purist will stay far away from this technology and many feel that completely turning your guitar signal digital is sacrilegious—I was included in this group until I heard the impressive leaps and bounds this technology has made. Digital modelling is the technical term and most units come designed to fit in 2 rack spaces. The units, especially the high-end, don't come cheap but they sure offer an incredible pallet of sounds.
Being a tube amp analogue purist I am looking at Mesa amp heads predominantly, but as soon as Axe Fx|| comes with tube amp integration in their amp heads it will be very tough to pass up that opportunity.
Monday, 25 February 2013
A Thousand Farewells
Nahlah Ayed’s memoir, A
Thousand Farewells, is riveting collection of life experiences relative to
the author’s connection to the Middle East. The authors personal account of war
in the Middle East presents a relevant perspective on the effects of modern warfare:
The book illuminates not only the scars inflicted to soldiers and
infrastructure, but also the (emotional and physical) scars worn by countless
families caught in the crossfire as they struggle to manage their daily lives.
When our Western hand of intervention turns into a fist to
force change, it is common for our media to censor the graphic violence that is
prevalent in the regions of conflict. Most of us are quite disconnected from
death in Canada, even living in the murder capital of this nation, many of us
will never see death in our streets. War coverage on American television pacifies
the violence even further by showing The General Atomics
MQ-1 Predator dropping bombs with the press of a button—while the operator sips
his morning coffee in the Nevada command centre. This glorification of tactical
assault is eerily familiar to the Call Of Duty video games that dominate modern
teenage hobby interests. It is apparent that we as civilians are disconnected
from seeing the full effects of our intervention in the Middle East and other
areas of involvement. A Thousand
Farewells highlights the daily devastation felt by the people of the region
and is not diluted to appease the faint of heart.
The reporting by Nahlah Ayed is very observational and
sometimes poetic in its nature: I found this stimulating and enjoyable. I often
felt that I was looking through her eyes, as a looking glass, when she was
describing vivid events. Reading Ayed’s work has given me respect and
appreciation for the small, specific observational details included in
compelling journalism. When Ayed wrote about the shaking ground from the
dropping bombs, I felt as though I was next to her tasting the dust in the area
with remnants of black powder. During the reporting of bombs dropping in the
distance, the author does not include descriptions of her emotional state
because the scene is so descriptive the reader is engaged to connect their own
emotions to the circumstances. It is so effective when a writer can show you a scene and not tell you; this makes the reading
experience much more intimate and vivid. I believe many journalists can take a
helpful example from Ayed’s work when using poetic language to help color a
scene. Notably, the scene with the “angel of mourning” really captured the
emotional state of Hillah when its dark secrets were being un-earthed. Ayed is really an expert at painting a detailed scene for readers with her extensive
and carefully selected details. They say, “a picture’s worth a thousand words,”
I felt the same effect from Ayed’s descriptive language painting a picture in
my minds eye.
Ayed’s writing bears the professional structure and prose
of a veteran journalist, which is demonstrated with every stroke of her pen
(but most likely keyboard). There are many interesting metaphors contained in
the pages showing the delicate balance of observational poetic expression and
facts that add to the story. For example: the connection between candy bars and
characters that sound as if they were crafted in a child’s imagination.
The use of similar names was often confusing for me throughout the book, but there isn't exactly a way around that while still maintaining integrity. Perhaps some non-essential characters throughout Ayed's experiences could have been omitted, such as, one of the many Abdullahs in the story. I was also surprised that there were never any mentions of romantic interest while traveling in the Middle East. Many details of the authors personal life are investigated and analyzed heavily while other areas are completely ignored.
The use of similar names was often confusing for me throughout the book, but there isn't exactly a way around that while still maintaining integrity. Perhaps some non-essential characters throughout Ayed's experiences could have been omitted, such as, one of the many Abdullahs in the story. I was also surprised that there were never any mentions of romantic interest while traveling in the Middle East. Many details of the authors personal life are investigated and analyzed heavily while other areas are completely ignored.
A very close family member of mine was in the Middle East
for a short diplomatic objective, so in addition to the emotional response from
an already compelling story I felt a strong connection when Ayed was feeling
fear for her safety during the onslaught of conflict. Reading Ayed’s accounts
of the dangerous elements in these troubled Middle Eastern cities prompted me
to think of my family member and what he must of felt when touching down in
that region for the first time.
I can honestly say that I have learned many important and
practical lessons that will be a helpful influence on many future journalistic
projects. I have always had a lot of curiosity about the recent invasion of
Iraq and what the Iraqi citizens must have thought of George W. Bush’s
allegations that subsequently led to war in their homeland. I strongly believe
that it’s infinitely valuable for two cultures engaged in conflict to understand
each-others perspective because war ultimately is the product of indifference
affecting diplomatic failure. Books such as “A Thousand Farewells,” contribute
to the very antithesis of war itself: understanding.
Friday, 15 February 2013
Daemoness Guitars!
Alright, it's time to talk guitars... And I ain't talkin' about the rows on the assembly line at the factory.
I have recently come across a very cutting edge guitar company hailing from Bristol, England, which is operated by Tom Waghorn and Dylan Humphries, who are world renowned professionally trained luthiers. The company is called Daemoness Guitars, they are determined to make the worlds best metal guitars for the modern player by integrating original designs and an ethos that is true to the metal player. The first thing I noticed about this English guitar builder is that each guitar has a central design concept; each guitar is like a work of art that boasts breakthrough creative concepts. Many of the central themes embody genre specific occult themes of death and demons—such is the way of the metal—but there are also many designs that are truly a thing of artistic beauty. Below is one of the customized guitars called the Shark Star. I really can't think of anything more hardcore than a shark inspired guitar...
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Courtesy of Daemoness Guitars |
I was first exposed to the small boutique guitar company through one of my favorite modern metal bands, Periphery, as their lead guitar virtuoso Misha Mans slung a big beautiful blue guitar (shown below) with the most intense 7 string tones. The Daemoness Guitars are installed with boutique pick-ups as well, and most of them are equipped with fellow English company and guitar innovators Bare Knuckle Pick-ups. These pick-ups really accentuate the playing style of the band Periphery, as they are central figures in the new metal genre (or guitar tone style) known as 'Djent.' Below is the gorgeous guitar that inspired me to seek out this company and research some of their other creations.
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Courtesy of Daemoness Guitars |
To me personally, there is something breathtaking about a thing of beauty like this guitar crafted from nature that unleashes a heavy wall of sonic ferocity.. Yes it is quite safe to say that I am quite captivated by this instrument.
Daemoness Guitars uses a variety of different wood for the body for different purposes. They often use combinations of Redwood, Mahogany and quilted maple layered together. Also the guitar neck is layered with three different varieties of wood to prevent warping and twisting. This method of layering wood is a very advanced and technical procedure only masters of the craft can pull off in an economical way. There are no prices listed on the website, but there is a section to send in your specs to receive a quote. With this kind of craftsmanship I wouldn't be surprised if the guitar build is well out of the price range of many of us mere mortals. The website confidently boasts, "Daemoness guitars can build you an exact replica of pretty much anything you want,"I definitely believe they can back that one up!
I was surprised to un-cover that all inlay work on the guitar neck is custom drawn out on a drafting table in the middle of the shop, a combination of white mother of pearl and abalone are custom cut and fitted into place to create yet even more character to these guitars.
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Courtesy of Daemoness Guitars |
These guitars are clearly designed for gods among men and if I ever get the chance to play one of these beasts, I am sure the under world would salute me with lighters in the air. Here is another pic for your enjoyment, cheers!
Friday, 8 February 2013
Post-production project complete!
I have recently completed the post-production audio edit for a 35 minute film I have been working on since the July. I was sceptical at first taking this project because of the very rough location audio that had a lot of destructive wind noise and interference throughout many dialogue intensive scenes. I saw the opportunity to take on an intensive challenge that would further refine my ADR and audio masking skills and add impressive elements to my portfolio and freelance business reputation. My freelance audio production business, Vigilant New Media, has finalised yet another post production project, but this one wasn't a cake walk.
The first stage in production was to do a rough edit the director and myself could determine which scenes will need ADR recording. After many review sessions we determined that roughly 1/3 of the film needed to be re-created in the studio, which by comparison to other indy films, is quite a lot. I would normally recommend re-shooting some scenes under these circumstances but the scenes were quite difficult to re-create and many of the actors are from Vancouver and Toronto, basically I was asked to make a miracle happen. The production company agreed to pay all the studio time and production expenses required to get the audio to a professional level, so I called up my good old buddy Andrew from Precursor Productions and booked about a week of studio time.

The ADR sessions were a lot of fun, all of the actors did a fantastic job despite the many takes we went through! It is a key tactic in ADR recording to use the same microphone at roughly the same placement as it was recorded on set-It is usually a safe bet to have the mic pointing downward from a raised mic stand to emulate how the boom mic is typically used on set. I was using Apple Logic Pro and engage the look take recording feature made it ideal for capturing the perfect ADR takes, because it allows you to seamlessly cut individual words from a variety of different takes to suit the scene.
Next on the agenda was a rigorous Foley recording session that took a couple months to completely re-create from the ground up. The wind noise was so destructive on some scenes that they had to be deleted completely, so every gust of wind rustling branches to every footstep and passing car had to be fabricated with some studio magic. This process was very challenging and time consuming at times, but the finished product really is something impressive. I can barely tell that the audio was re-created, it sounds to me like pristine location audio!
The most difficult Foley, however, is the roller skating scenes. I used contact microphones and boom mics spatially position around the streets at 4am - 5am when there was little traffic noise. The mixed roller skating now sounds dynamic, thunderous and amazing. After many mixing sessions with the director I finally have the finished product ready for the Cinematheque and film festival release this spring. I highly recommend checking out this film!
Thursday, 31 January 2013
The Waiting Room
The Waiting Room blog post
It is easy to take for granted our free health care system
as a Canadian citizen. If we were presented with receipts stating the cost of
our latest doctors visit paid courtesy of the Government of Canada, I am sure it
would put it in perspective just how fortunate we are to live in a nation where
visits to the family doctors office feel like a basic inherent civil right.
Sure we have our share of problems with the system here in Canada, but have we
ever been frustrated enough to consider trading places with our Southern
neighbours? The
documentary film, The Waiting Room, offers an 81-minute candid journey into the
perseverance and daily reality facing patients, doctors and staff caught up in the
American healthcare system at the Highland Hospital in Oakland, California. This
film offers an insider’s perspective on the inner workings of a health care
system that is so different from our own in some ways.
Many young Canadians learn, in the early years of junior
high school, the basic fundamental differences between our two healthcare
systems and that we are privileged to be living in a nation that will not turn away it's citizens in our most vulnerable moments. The American healthcare system is often
a hot topic for debate between Republican and Democratic leaders during
election time, which in turn spills over into our Canadian media content. When
I hear about the healthcare debates in the U.S I often wonder: how can a nation
with an estimated GDP of $15.8 trillion in 2012, according to the U.S
National Economic Trends, deny its citizens a very basic right to be
treated in the direst times? It was curiosity that motivated me to see Michael
Moore’s film Sicko in 2007, to shed light on this issue that is merely 140 km
away from my hometown. I thought Sicko was a great and informative journey into
the backward policies of American healthcare, but of course some of the
messages were extremely dramatized to garner shock-value in true Michael Moore
fashion. I appreciated the journey by boat to Cuba too seek health care, it made
for great entertainment, but the majority of Americans aren’t travelling in
boats making highly dramatized entrances for medical care. You will find most
Americans in the countless waiting rooms strewn across their vast nation, many
of them nervously waiting with their fate in the hands of their insurance
provider, if they are lucky.
This documentary film The Waiting Room covers the very
diverse and captivating stories of Americans inter-woven in the system at the Highland Hospital. The documentary is shot in an
observational style, often called cinema verité, which presents a reality soaked
multiple-character driven account of the many trials facing an un-insured
patient in the U.S. health care system. The filmmaker, Peter Nicks, skillfully
chooses diverse characters that have very different outlooks and are facing
very different situations to color the greater message of the film looking at
the broken system in its entirety. I was heavily captivated by each characters story and often pulled into the
characters shoes: from a father fearful for
his daughters well-being to an elderly man needing dialysis but more accepting
to death than another waiting room at the hospital. The filmmaker does an
amazing job empathetically connecting the audience to each patients fears and
frustrations by offering a strip down bare bones account of their thoughts and
reactions to the developments in their medical problems.
The sound was predominantly natural ambiance in each setting, which evoked
connectivity to the environment, and effectively transported the audience to
the sensory surroundings of the waiting room. The film demonstrated
journalistic objectivity by showing positivity in the systems as well by showing cheerful staff members trying to make the
most of their daily work—the nurse with red rimmed glasses giving a gangster patient a comical tongue lashing—and also glowing results from
patients that had undergone emergency procedures stating the superiority of
American emergency room surgeons.
One relation that Canadian and American health
care systems share, is the inevitability of wait times. It was shocking
in the film when patients of the Highland Hospital were given wait times as
long as a month for MRI scans, it was a dramatically highlighted point in the film. In
Manitoba, Canada, the average wait time for an MRI at the Health Sciences
Centre is 16 weeks according the Manitoba Government's website: a very similar
range of time.
In a recent experience of mine at the Health Sciences Centre
I was waiting in the emergency room untreated for 7 hours suffering from severe
food poisoning. After wait times were pushed back yet again, because of an insurgence
of ambulance patients—not un-common for Manitoba—I decided to leave un-treated
so I could attend school in the morning. This all-too-common situation allows
one to see a common factor between our two systems: that health care is often a safety-net institution. This speculation is also tactfully suggested in the documentary. In fact, most
of the patients that were ahead of me on the waiting list at the Health
Sciences Centre knew the staff by name.
I wonder if the Highland Hospital has ever had mortality
in their waiting room like the tragedy that happened to Brian Sinclair who died
while waiting untreated for 33 hours in the Health Sciences Centre. Perhaps the U.S systems has mortality problems of their own. On May.15,
2012, a message was given to physicians by T.R Reid, a notable journalist
specializing in healthcare systems, at the 67th annual Ogden Surgical Medical
Society conference that stated:
“Roughly 22,000 Americans die every year from treatable
diseases because they can't afford to go to a doctor.”
Upon watching the documentary film and experiencing the Canadian health care system for myself, it is evident
that each of our healthcare system’s in our affluent nations are far from
perfect. But one thing was definitely made very clear by The Waiting Room documentary: the
Americans health care system has a long way to go.
Friday, 25 January 2013
Signal Path for Guitar Pedals and Audio Effects
Hello Sonic Manipulators
In this blog post I will explore the considerations relating to signal path processing for audio effects predominantly focussing on guitar pedals. Most of us can relate to having that guitar player friend with a 'mission control' looking command centre full of tone manipulating gadgets; however, to chart into original compelling tones you dont have to break the budget to fill your pedal board rack with the latest 'space ship controlling' equipment. Often less is more when it comes to layering effects, because every pedal that sits in the signal path to your amp will color your sound and affect the signal even when bypassed.
Before I get into signal path theory, it is appropriate for me to note that many guitar players are diverse in their approach to maximize tone, this is meant to be a guide, so when it comes down to it trust your ears and break some rules. This guide will help you break some rules with confidence. You may hear some killer tones taking the backwards approach!
Quick Theory Note: Think of your signal like a cooking recipe for delcious tones that has an order of operations to achieve concieved results. The order in which you add elements to the chain will be cummulatives in their effect to the final product (the sound that comes out of your amp.)
Choosing the Input path for your effects:
If your guitar amp is fitted with an effects sends and return signal chain I would highly suggest using this path for your pedal board; this option will allow you a clean direct signal for your over drive and clean channels allowing you to dis-engage your pedal board if you choose to use amp direct FX. You can also use the effects channel as a boost for solo'ing with solo specific effects or simply just dry (without FX).
First up in the signal chain!
Tuning Pedals: I always recommend using the guitar tuner for the first pedal in your signal chain. Tuners work most accurately with a clean signal that is not colored by additional effects.
Wah Pedals and Filters: These guitar effects are triggered dynamically by signal attack so it would make the most sense to add them here in the chain.
Compression: Compressing your signal hear will allow the effected signal to reach the other effect pedals with optimal signal levels, maximizing the clarity of FX down the signal chain. This is a great way to tame the swellls that come out of your Wah pedal so they are sweet and not over bearing.
Over-drive and distortion pedals:
These mighty pedals will colour your sound with gritty heavyness and additional gain; further, they add harmonics to your signal that can really add complexities travelling through the rest of your effects.
Modular FX section:
This section of the pedal board is highly objective and can influence your tonality in many diverse ways, which complete is dependant on the sort of style you are hoping to achieve. The pedals have the most character in this place of the signal chain. Modulation pedals such as: Flanger, Chorus, Phaser Etc.
Last in the signal chain:
Delay: This is the optimal spot for delay units. Having the delay record (and play back) all the elements of your tone from your pedals at this stage, will ensure that you dont loose any characteristics from your other pedals in your delayed sounds. If you engage the looping trigger—that many delay pedals are equipped with these days—You can shift gears into your distortion pedals for solo without affecting the looping signal.
Reverb: Reverb pedals are spatially constructing your guitar tones final image, it always sounds the best at the end of your signal chain. Feeding a reverb signal through all the rest of your pedals is a sure way to "muddy" up your sound. The spacial response from the reverb pedal at the end of the chain will react brilliantly with volume pedals and other pedals that manipulate the signal amplitude of your guitar tone.
Get out there and Experiment fellow axe slinger!
This is a starting point so get out to your jam space and experiment with your tone using these tried and true tips to maximize your guitars euphonic qualities.
All this writing about guitar pedals has seriously motivated me to grab a new pedal myself today. I am gonna go buy me the Boss DD-20 Digital Delay unit. I'll post on how it works in my rig next week. Cheers!
In this blog post I will explore the considerations relating to signal path processing for audio effects predominantly focussing on guitar pedals. Most of us can relate to having that guitar player friend with a 'mission control' looking command centre full of tone manipulating gadgets; however, to chart into original compelling tones you dont have to break the budget to fill your pedal board rack with the latest 'space ship controlling' equipment. Often less is more when it comes to layering effects, because every pedal that sits in the signal path to your amp will color your sound and affect the signal even when bypassed.
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Source: wodumedia.com, The Tom Green Show. |
Quick Theory Note: Think of your signal like a cooking recipe for delcious tones that has an order of operations to achieve concieved results. The order in which you add elements to the chain will be cummulatives in their effect to the final product (the sound that comes out of your amp.)
Choosing the Input path for your effects:
If your guitar amp is fitted with an effects sends and return signal chain I would highly suggest using this path for your pedal board; this option will allow you a clean direct signal for your over drive and clean channels allowing you to dis-engage your pedal board if you choose to use amp direct FX. You can also use the effects channel as a boost for solo'ing with solo specific effects or simply just dry (without FX).
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Courtesy of louisvillemusic.org |
First up in the signal chain!
Tuning Pedals: I always recommend using the guitar tuner for the first pedal in your signal chain. Tuners work most accurately with a clean signal that is not colored by additional effects.
Wah Pedals and Filters: These guitar effects are triggered dynamically by signal attack so it would make the most sense to add them here in the chain.
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Courtesy of MusiciansFriend.com |
Over-drive and distortion pedals:
These mighty pedals will colour your sound with gritty heavyness and additional gain; further, they add harmonics to your signal that can really add complexities travelling through the rest of your effects.
Modular FX section:
This section of the pedal board is highly objective and can influence your tonality in many diverse ways, which complete is dependant on the sort of style you are hoping to achieve. The pedals have the most character in this place of the signal chain. Modulation pedals such as: Flanger, Chorus, Phaser Etc.
Last in the signal chain:
Delay: This is the optimal spot for delay units. Having the delay record (and play back) all the elements of your tone from your pedals at this stage, will ensure that you dont loose any characteristics from your other pedals in your delayed sounds. If you engage the looping trigger—that many delay pedals are equipped with these days—You can shift gears into your distortion pedals for solo without affecting the looping signal.
Reverb: Reverb pedals are spatially constructing your guitar tones final image, it always sounds the best at the end of your signal chain. Feeding a reverb signal through all the rest of your pedals is a sure way to "muddy" up your sound. The spacial response from the reverb pedal at the end of the chain will react brilliantly with volume pedals and other pedals that manipulate the signal amplitude of your guitar tone.
Get out there and Experiment fellow axe slinger!
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Courtesy of Boss |
All this writing about guitar pedals has seriously motivated me to grab a new pedal myself today. I am gonna go buy me the Boss DD-20 Digital Delay unit. I'll post on how it works in my rig next week. Cheers!
Sunday, 20 January 2013
New CreComm band!
Good evening
I have really been itching to start a new band and play some shows since I moved here from Calgary two years ago and left my former band.
The last band I played guitar in was really gaining some momentum and we were starting to headline some great shows; but unfortunately two of the band members moved to Vancouver for work, and shortly after I moved to Winnipeg for film work.
I have been keeping busy as a session guitar player since being in Winnipeg collaborating on tracks with Selektah Coda, DJ Tubescreamer and many other comrades in the electronic music scene, but I've really been hoping to take it out of the studio and back on to the stage.
I discovered that my motivations were shared with CreComm pals, Nolan and Logan. After some discussion about starting up a music project but lacking a place to practice with a live drummer, I began searching for a rehearsal studio. I did a ton of shopping around and started getting the word out to many collective local music organizations that we were looking for a good secure artistic space. My close friend and drummer for the band, Nick Hook, mentioned that his buddy Tom was renting a commercial studio space on Erin street and they currently had an opening that was spacious and secure. Without much delay we booted down there, took a brief tour and then signed the lease! This character space is a former bus depot that apparently has become haunted after a band-saw broke in the repair station and killed 4 people—perfect for some ghastly guitar riffs!
It was officially ours that night, so we celebrated our new piece of dingy real-estate by hauling all of our gear to the location on the worst possible evening ever: During that furious blizzard last week. For those of you who have never experienced natures fury in the form of a Winnipeg blizzard, trust me, it's definitely a devastating occurrence. We could have delayed the move a couple days for the on-slaught of snow to pass, but we decided to haul the massive Pearl drum kit, guitars and amps in the middle of being ruthlessly bombarded by winter turbulence. Not even mother natures icy wrath could keep us from making noise that night. So we had a great first jam and our sounds peaked interest of bands renting studio space around us, which are 3 other groups. Our closest neighbors are this hip-hop group with a band name coined from the room in which they reside, Rm.220, which they have converted into a hip-hop production studio, hang-out space and basketball court. We have been there a couple times now writing original heavy rock tunes and providing 16 bar funky flavors for our hip-hop neighbors for MC battles. If you cant make out the lyrics, then you can trust me that it was good clean fun that night. I will be posting songs as we record them in the upcoming weeks. Cheers!
I have really been itching to start a new band and play some shows since I moved here from Calgary two years ago and left my former band.
![]() |
Former band FrontLine Infantry |
I have been keeping busy as a session guitar player since being in Winnipeg collaborating on tracks with Selektah Coda, DJ Tubescreamer and many other comrades in the electronic music scene, but I've really been hoping to take it out of the studio and back on to the stage.
![]() |
Former band FrontLine Infantry |
It was officially ours that night, so we celebrated our new piece of dingy real-estate by hauling all of our gear to the location on the worst possible evening ever: During that furious blizzard last week. For those of you who have never experienced natures fury in the form of a Winnipeg blizzard, trust me, it's definitely a devastating occurrence. We could have delayed the move a couple days for the on-slaught of snow to pass, but we decided to haul the massive Pearl drum kit, guitars and amps in the middle of being ruthlessly bombarded by winter turbulence. Not even mother natures icy wrath could keep us from making noise that night. So we had a great first jam and our sounds peaked interest of bands renting studio space around us, which are 3 other groups. Our closest neighbors are this hip-hop group with a band name coined from the room in which they reside, Rm.220, which they have converted into a hip-hop production studio, hang-out space and basketball court. We have been there a couple times now writing original heavy rock tunes and providing 16 bar funky flavors for our hip-hop neighbors for MC battles. If you cant make out the lyrics, then you can trust me that it was good clean fun that night. I will be posting songs as we record them in the upcoming weeks. Cheers!
Friday, 11 January 2013
Gathering at Mid-Can's Studio
Hey all
It was a very rare event that happened on Tuesday, January 8th @ Mid-Can's production studio: An email was sent out to central Canada's small elite crew of unionized audio engineers for a free pizza and beer gathering to sample some new audio products entering the market for the first time—let me just say, if your looking to get a crew of sound guys together, that's how to do it!
We all made our way into this world class facility and into the production studio that was suited up with chairs, 50 inch plasma screen T.V's playing a Led Zeppelin concert for their rock'n roll hall of fame induction, and a couple of cold ones on ice. Since the Sound Department Caucus of Manitoba is a relatively small collection of specialists (roughly 20 members) one would make the assumption that we all would have known each-other quite well. This is true for some of us (especially the veterans) but for many of us we have heard many mentions of each-other but never actually met face to face—this shocked and amazed all of us, especially Mid-Can's rentals manager Kelly Dodds!
So we enjoyed a couple "wobbly pops" as the old timers there call ice cold beer and we began to watch an operation video for Sound Devices new 664 record unit.
I have been a big fan of Sound Devices portable recorders for a long time now, they are my go-to most reliable field recorder for working on documentary or drama films. The 664, however, is optimized for many channels of un-scripted dialog, which is perfect for reality T.V!
We all got a chance to fiddle around with the settings while the video was playing tricks and tips in the background but Kelly was sure to tell us "greasy scum-bags" to wash our hands before pushing any buttons!
The evening was really fantastic, I got to catch up with some of the veteran sound mixers that mentored me and really taught me everything I know when I was fresh out of college many years ago when I was a young entry level audio engineer. I am really grateful for all of the experiences I have had working with them, they have all been really positive and constructive.
The thing with the Sound Department, is that we are relatively small crews usually 2 or 3 of us on a team for many films, so most of us just know the small sound teams we continually work with. This was a great meet up of long time collaborators pushing out serious quality out of Manitoba ensuring great sounds make it to the worlds stage. I am really glad that we all posed in the picket line for a photo opportunity at the end of the night, I really quite like the caption: "Central Canada's audio engineers, I'm sure you've heard us!"
It was a very rare event that happened on Tuesday, January 8th @ Mid-Can's production studio: An email was sent out to central Canada's small elite crew of unionized audio engineers for a free pizza and beer gathering to sample some new audio products entering the market for the first time—let me just say, if your looking to get a crew of sound guys together, that's how to do it!
We all made our way into this world class facility and into the production studio that was suited up with chairs, 50 inch plasma screen T.V's playing a Led Zeppelin concert for their rock'n roll hall of fame induction, and a couple of cold ones on ice. Since the Sound Department Caucus of Manitoba is a relatively small collection of specialists (roughly 20 members) one would make the assumption that we all would have known each-other quite well. This is true for some of us (especially the veterans) but for many of us we have heard many mentions of each-other but never actually met face to face—this shocked and amazed all of us, especially Mid-Can's rentals manager Kelly Dodds!
So we enjoyed a couple "wobbly pops" as the old timers there call ice cold beer and we began to watch an operation video for Sound Devices new 664 record unit.
I have been a big fan of Sound Devices portable recorders for a long time now, they are my go-to most reliable field recorder for working on documentary or drama films. The 664, however, is optimized for many channels of un-scripted dialog, which is perfect for reality T.V!
We all got a chance to fiddle around with the settings while the video was playing tricks and tips in the background but Kelly was sure to tell us "greasy scum-bags" to wash our hands before pushing any buttons!
The evening was really fantastic, I got to catch up with some of the veteran sound mixers that mentored me and really taught me everything I know when I was fresh out of college many years ago when I was a young entry level audio engineer. I am really grateful for all of the experiences I have had working with them, they have all been really positive and constructive.
The thing with the Sound Department, is that we are relatively small crews usually 2 or 3 of us on a team for many films, so most of us just know the small sound teams we continually work with. This was a great meet up of long time collaborators pushing out serious quality out of Manitoba ensuring great sounds make it to the worlds stage. I am really glad that we all posed in the picket line for a photo opportunity at the end of the night, I really quite like the caption: "Central Canada's audio engineers, I'm sure you've heard us!"
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