Keyboard Magazine 2009-06

www.keyboardmag.com

GIG

GIN

G A

T T

HE

INA

UG

UR

AT

ION

| R

YK

SO

PP

| STA

RT

ER

DIG

ITA

L P

IAN

OS

| AR

TU

RIA

OR

IGIN

| IZO

TO

PE

OZ

ON

E 4

7 STARTER DIGITAL PIANOS COMPARED

JUNE 2009

A NEWBAY MEDIAP U B L I C A T I O N King Roc

IvoryUprightPianos

iZotopeOzone 4

ArturiaOrigin

Ryksopp

Michael Bearden Rocks the Inauguration

PLAYMGMT TIME TO PRETENDMARIAH CAREY HERO

EMBRACE YOUR BASSWITH SINE WAVES

TIEMPO LIBREBACH GOES TO CUBA

Eric DanielsShines with MariahRay ChewMasterminds the Neighborhood Ball

STAGEPAS 500 Yamahas newest

ultra-compact PA system follows closely

in the footsteps of its smaller, market-

leading counterpart, STAGEPAS 300.

The differences, you ask? Higher power,

more channels, additional features, and

even greater sonic performance, for those

more demanding applications.

Get the biggest possible sound out of the

smallest possible system. Take STAGEPAS 500

along for the ride and lets go places together.

10-input stereo powered mixer

Dual 250W amplifiers

10 two-way loudspeakers

Titanium high-frequency drivers

Two input compressor/limiters

Phantom power

System weight under 57lbs

2009 Yamaha Corporation of America. All rights reserved.www.yamaha.com

Our Commitment

Our Promise

These are diffi cult time

s for our country. And w

hen the economy is stru

ggling, as it is now, it w

ould be easy for us to fa

ll

into fear and negative t

hinking and to cut back

on the services and sup

port we provide, in ord

er to save a few dollars

. But

thats not the American

way, and it has never b

een part of Sweetwater

s approach.

Thirty years ago, I foun

ded Sweetwater based o

n one philosophy: to pr

ovide my friends and c

ustomers with the kind

of

service and support tha

t I looked for but ne

ver found when I was

making gear purchase

s for my own recording

studio. As we celebrate

our 30th anniversary as

a company this year, I

m proud to say that we

have stood by that

commitment, and we wi

ll continue to stand by

it.

Thats why were doing

everything we can to m

ove forward in these dif

fi cult times. You deserv

e the very best wheneve

r you

make a music or pro a

udio gear purchase. We

re committed to provid

ing you all of the great

extras youve come to

expect

from us: free shipping,

free lifetime technical s

upport, the quality of o

ur award-winning serv

ice department, and the

training and effort we p

ut into ensuring that ou

r Sales Engineers are th

e most knowledgeable a

nd experienced in the

industry.

And were not stopping

there. Were adding eve

n more extras to make

sure you receive unrival

ed value for your gear

purchase dollars, such a

s our free Total Confi de

nce CoverageTM warrant

y to protect the gear you

purchase from us,

and our upcoming Gear

Fest Pro Audio and Musi

c Expo which will be

the highlight of our 30

th-anniversary

celebration and the mu

st-attend pro audio/mu

sic event of the year!

So, despite the economy

, were going to continu

e to provide you with th

e best music and pro au

dio gear value

available. Our 30-year c

ommitment to our cus

tomers, our industry, an

d the value of music re

mains unchanged,

and we are optimistic a

bout the future!

Id like to express our gr

atitude for your support

and your business. We

know that without you

and your confi dence in

us,

we wouldnt be here. O

n behalf of the entire c

ompany, thank you!

Chuck Surack

President, Sweetwater

f s to faall

Id like to express our gratitude for your support and your business. We know that without you and your con dence in us, we wouldnt be here.Chuck SurackPresident of Sweetwater Sound

You Could Buy Your Music Gear Anywhere

(800) 222-4700 www.sweetwater.com

1 9 7 91 9 7 9 2 0 0 92 0 0 9

FREE Shipping FREE 2-year Warranty FREE Tech Support FREE Professional Advice

Sound ConstructionRolands Piano Component Object Sound Modeling Synthesis technology recreates the sound-making characteristics of the acoustic piano and all the complex interactions between them.

Vintage PianoThe Vintage piano models give you detailed control over single note tuning, hammer hardness and more, so you can make the V-Piano sound and behave like the most beloved acoustic pianos on the planet.

Vanguard PianoEnter a new dimension of creativity and construct a dream piano. Adjust resonances, set up triple strings on every key, tweak voicing individually for each register, and much more.

Grand FeelSure to suit the most demanding pianist, the PHA III Ivory Feel keyboard provides the authentic playing touch and feel of a real acoustic grand, with its high repetition action and ability to learn your touch.

The revolutionary new V-Piano represents a giant leap forward in digital technology. Gone are the tonal and polyphony issues of the past inside this breakthrough instrument is a living piano engine that recreates every nuance of an acoustic piano, and then some. For the first time in a digital keyboard, the V-Piano puts the entire range of the acoustic pianos sound and natural expression under your fingertips, with no sampling, no looping and no velocity switching.

34 POP Want to play Mariah Careys Hero note for note, as her keyboardist Eric Daniels performed itfor the Presidents inaugural Neighborhood Ball? Dig into the full transcription here.

36 ROCKLearn the addictive synth riffs that define MGMTs Time To Pretend and play along to the radio blockbuster.

38 JAZZ Cluster chords can add nuance and richness to your piano work. Andy LaVerne shows you how to thicken your voicings tastefully.

PLAY IT!

10 ARTISTSTIEMPO LIBREJEANNE ARLAND PETERSONKING ROCBLACK GOLDUNSIGNED ARTIST OF THE MONTH

ADVICESESSION SENSEICAREER COUNSELORASK MIKE

COMMUNITYCD REVIEWSGO SEETAKE THE KEYBOARD CHALLENGEWEEKEND WARRIOR

JU NE 2009

30

KEYSPACE

20 ALL THE PRESIDENTS SIDEMENBarack Obamas inauguration was the most musical in U.S.history, thanks largely to three master keyboardists Michael Bearden, Ray Chew, and Eric Daniels. Read their stories, tips, and survival strategies here.

30 RYKSOPPLearn electro-pop production secrets from the Norse Gods of Synth.

FEATURES

20

NATHAN EASTCONTE NTS

50 6 . 2 0 0 9 K E Y B O A R D

JU NE 2009

40 SOFT SYNTHSMGMTS TIME TO PRETEND SYNTH LEADRecreate the sound thats dominating the airwaves.

42 DANCE MIXSINE OF THE TIMESLayer in sine waves to beef up your bass lines.

44 PRODUCTIONEFFECTS LOOP BASICS IN PRO TOOLSAn insert isnt the only way to add effects. Learn how to set up a send-based effects loop here.

DO IT!

LINKS

GEEK OUT

8 FROM THE EDITOR

18 NEW GEAR

70 PRODUCT SPOTLIGHT

71 CLASSIFIED ADS

72 Get the scoop on Michael Beardens B-3-powered inaugural rig.

ON THE WEB

INAUGURATION ONLINEThe story of those momentous musicaldays in January doesnt end when youclose the magazine. Head online for moreexclusive stories and advice from Michael,Ray, and Eric.

CREATIVE COMPING WITHDANILO PEREZIn our April 09 issue, we went deep intoLatin pianist Danilo Perezs harmoniccomping innovations. Now, Senior EditorMichael Gallant walks you through thelesson on video. Watch it atkeyboardmag.com/play.

@keyboardmag.com

GEAR46 ROUNDUP:

THE STARTER PIANO Seven digital pianos that focus on low cost and portability.

54 ARTURIA ORIGIN

60 IZOTOPE OZONE 4

64 ANALYSIS PLUSYELLOW OVAL CABLES

69 SYNTHOGYIVORY UPRIGHT PIANOS

54

60

Cover photo by Nathan East

NATHAN EAST

6 K E Y B O A R D 0 6 . 2 0 0 9

CONTE NTS

GearFest 09Dont Miss

The Nations BIGGESTPro Audio and Music Expo!

Thousands of pieces of gear under gigantic tents Exclusive on-site GearFest deals Scores of manufacturer exhibits GearFest Master Classes (Friday) and dozens of additional workshops and seminars (Saturday) All absolutely FREE!

GearFest 09 Is Bigger and Better Than Ever!You dont want to miss this one! Join thousands of musicians, engineers, and all-out gear fanatics at GearFest 09! Its Sweetwaters 30th anniversary, and to celebrate, weve made this years festival bigger than ever. Friday is power packed with in-depth GearFest Master Classes on subjects such as Pro Tools, sound for houses of worship, studio acoustic treatment, and more. Saturday features performances, workshops, and appearances by some of the hottest players and experts in the business and its all FREE! Call your Sales Engineer today or go to sweetwater.com/gearfest to fi nd out more!

1 9 7 91 9 7 9 2 0 0 92 0 0 9

sweetwater.com/gearfest (800) 222-4700

Learn more here:

sweetwater.com/

gearfest

GearFest 09 Highlights!Friday, June 2612:00 PM - 7:00 PM

Saturday, June 279:00 AM - 5:00 PM

Pro Tools Master Classes

Miking techniques for houses of worship

Acoustics for the Home Studio by renowned acoustician Russ Berger

Mixing The Best of Both Worlds by mix engineer Fab Dupont (J. Lo, Queen Latifah, etc.)

Live performances and appearances by industry legends and experts

Workshops on subjects such as wireless mics; desktop music production; and miking techniques for guitar, drums, and vocals

...and a whole lot more!

Imagine that anthropology students fromanother planet have been observing us since,oh, this past January. Their term papers mightbegin something like: Earthlings are known formusic festivals such as Coachella, South bySouthwest, CMJ, Bonnaroo, and Inauguration.This last one is curious, as the leader of one oftheir largest countries takes office during theintermission. An understandable confusion and the exact reason Keyboard was there. PastInaugurations have certainly seen famous actsperform, but this was a whole other level.

As the events showcased on a grand scale,music can bring very different people together.Ive formed friendships with people wherefisticuffs would have resulted if we were arguingpolitics in a bar instead of gigging in one. Studyafter study has shown that early music educa-tion makes kids more socially adjusted, not tomention better at math and science. And moreof us than not have had a coworker we justcouldnt stand, then learned they played aninstrument and thought, Hmm, they cant be allthat bad. These examples show musics powerto solo what makes us the same and pull thefader down on what makes us different. Thatswhy if the Other Guy had won and the festivitiesbeen anywhere near this musical, wed haverushed to cover them, and Id be writing theexact same editors letter right now.

Speaking of togetherness, weve moved theLetters page to cyberspace in response to yourfeedback. Go to keyboardmag.com, click onForum, and youll find two forums. The KeyboardCorner is where you can interact with fellow musi-cians from all over the world. Keyboard EditorsOffice is exactly what it sounds like, and our digi-tal door is always open to your questions, sugges-tions, compliments, and complaints. You can alsoemail us at the address at right if you prefer privatecorrespondence. If you miss the printed Letterspage, let us know enough feedback to thateffect, and well bring it back.

Now, in the interest of balanced music cover-age, how about recording a piano CD, Condi?

OUR PARTY? THE ONE WITH LIVE MUSIC

VOL. 35, NO. 6 #399 JUNE 2009

eyboardEXECUTIVE EDITOR: Stephen FortnerSENIOR EDITOR: Michael GallantMANAGING EDITOR: Debbie GreenbergEDITOR AT LARGE: Craig Anderton INTERN: Rajneil Singh

ART DIRECTOR: Patrick WongMUSIC COPYIST: Elizabeth Ledgerwood

GROUP PUBLISHER: Joe [email protected], 770.343.9978ADVERTISING DIRECTOR, WEST COAST &NEW BUSINESS DEV.: Greg Sutton [email protected], 925.425.9967 ADVERTISING DIRECTOR, MIDWEST:Jessica [email protected], 661.255.2719ADVERTISING DIRECTOR, EAST COAST &EUROPE: Grace [email protected], 631.239.1460ADVERTISING DIRECTOR, SOUTHWEST:Albert [email protected], 949.582.2753SPECIALTY SALES ASSOCIATE, NORTH:Allison [email protected], 650.238.0296SPECIALTY SALES ASSOCIATE, SOUTH:Will [email protected], 650.238.0325PRODUCTION MANAGER: Amy Santana

MUSIC PLAYER NETWORKVICE PRESIDENT: John PledgerEDITORIAL DIRECTOR: Michael MolendaSENIOR FINANCIAL ANALYST: Bob JenkinsPRODUCTION DEPARTMENT MANAGER:Beatrice KimDIRECTOR OF SALES OPERATIONS:Lauren GerberWEB DIRECTOR: Max SidmanMOTION GRAPHICS DESIGNER: Tim TsurudaMARKETING COORDINATOR: Rosario PerezMARKETING DESIGNER: Joelle KatcherSYSTEMS ENGINEER: John MenesesASSOCIATE CONSUMER MARKETINGDIRECTOR: Christopher Dyson

NEWBAY MEDIA CORPORATEPRESIDENT & CEO: Steve PalmCHIEF FINANCIAL OFFICER: Paul MastronardiVP WEB DEVELOPMENT: Joe FerrickCIRCULATION DIRECTOR: Denise RobbinsHR MANAGER: Ray VollmerIT DIRECTOR: Greg TopfCONTROLLER: Jack Liedke

SUBSCRIPTION QUESTIONS?800-289-9919 (in the U.S. only) [email protected] Magazine, Box 9158, Lowell, MA 01853

Publisher assumes no responsibility for return ofunsolicited manuscripts, photos, or artwork.

KEYBOARD (ISSN 0730-0158) is published monthlyby NewBay Media, LLC 1111 Bayhill Drive, Suite 125,San Bruno, CA 94066. All material published in KEY-BOARD is copyrighted 2009 by NewBay Media. Allrights reserved. Reproduction of material appearing inKEYBOARD is forbidden without permission. KEY-BOARD is a registered trademark of NewBay Media.Periodicals Postage Paid at San Bruno, CA and atadditional mailing offices. POSTMASTER: Sendaddress changes to KEYBOARD P.O. Box 9158,Lowell, MA 01853.

Canada Post: Publications Mail Agreement#40612608. Canada Returns to be sent to BleuchipInternational, P.O. Box 25542, London, ON N6C 6B2.

Stephen FortnerEXECUTIVE EDITOR

FROM TH E E D ITOR

Name: Mike McKnightCurrently: Engineer forMariah Carey.In this issue: Cover story

(page 20), Ask Mike (page 15).Website: mcknightsoundinc.com

Name: Jim AikinOriginally: One of thefounding editors atKeyboard.

Currently: Renowned music technologyguru, electric cellist, and sci-fi author.In this issue: Arturia Origin review(page 54). Website: musicwords.net

Name: David FranzCurrently: Instructor atBerklee College of Music.Book: Producing in the

Home Studio with Pro Tools.In this issue: Pro Tools effects tutorial(page 44).Website: davidfranz.berkleemusicblogs.com

Three contributorsyou should know!

LETS HEAR FROM YOUContact the [email protected] Magazine 1111 Bayhill Dr., Suite 125San Bruno, CA 94066

Subscription questions 800-289-9919 (in the U.S. only)[email protected] Magazine Box 9158Lowell, MA 01853

Find a back issue [email protected]

Find us online or join the forums at keyboardmag.com.

8 K E Y B O A R D 0 6 . 2 0 0 9

GetVertical.WHAT IVORY DID FOR VIRTUAL GRANDS,IT NOW DOES FOR VIRTUAL UPRIGHTS!Synthogy, the leader in virtual pianos, brings the authentic,emotive sound of Upright Pianos to your Indie Rock, Pop,Crossover, and Vintage tracks.

synthogy.com

All trademarks are property of their respective holders.All specifications subject to change without notice.

Also runs stand-alone. Requires iLok.

800.747.4546 www.ilio.com

exclusivedistributors

Contact your favorite dealer!

Four Distinctive Pianos

UPRIGHT PIANOS

$299

ARTISTS, ADV ICE, COM M U N ITYKEYSPACE

Bach is back with a vengeance. Andin the hands of power pianist Jorge Gomezand his Grammy-nominated Cuban timbagroup Tiempo Libre, you can be sure thatthere will be dancing in the streets.

With an all-star cast (including saxo-phonists Paquito DRivera and YosvanyTerry) and a cascading collision of musi-cal styles, Gomez and company reinvigo-rate Bachs repertoire on their new Sonyrelease, Bach In Havana. Its been thedeft direction of Gomez that has guidedthe group since day one. We put a lot ofdifferent styles of Cuban music on thisalbum, Gomez tells me from his home inMiami, as he prepares for the newalbums release. Like danzn, cha-cha-cha, rumba, and guaguanc. But its allabout Johann Sebastian Bachs music the sonata, the minuet, the prelude witha Cuban touch.

The son of a musicologist mother and

a renowned classical pianist father,Gomez grew up with a healthy dose oftraditional Cuban music, intertwined withthe sounds of his father practicing Bachin the family home. Later, Gomez wouldstudy at Cubas premier music conserva-tory, the ENA (Escuela Nacional de Arte).All of us studied classical music in Cubafor 15 years, he continues. For me, Bachwas the best of all. I learned so muchfrom him the rhythm, the harmony, themelody. With him, everything is perfect.Especially with the rhythms on this CD,you see how perfect they are, becauseBachs music is so mathematical. Its notlyrical like Chopin or Liszt.

Gomez would eventually escape Cubain pursuit of personal and musical freedom,traveling at first to Guatemala in 1995,where he worked as an arranger and pro-ducer, and in 2000, to Miami. It was there,in 2001, that he would form Tiempo Libre

with other like-minded Cuban musicianswho had a desire to blend seeminglyopposite musical styles into a sound alltheir own. At the beginning, we playedonly jazz, Gomez continues. Then timba.Then jazz, timba, classical, everything. Wealso do musical theatre too. Its all the timesomething new.

With the release of Bach In Havana,Gomez masterfully merges a fierce, seem-ingly limitless piano technique with jazzcolors, classical forms, and Cuban dancefigures. With a mixed bag of sounds likethat, its little wonder hes eager to hit theroad in support of the new album. I cantwait to see the reaction of people, hesays. Its going to be the first time youllsee people listening to Bachs music, andat the same time dancing a conga! Jon Regen

For more on Jorge and Tiempo Libre, visit tiempolibremusic.com and myspace.com/tiempolibremusic.

TIEMPO LIBREJorge Gomez Brings

Bach to Cuba

CRAC

KERF

ARM

K E Y B O A R D 0 6 . 2 0 0 910

Ever been to Tonic, the now-defunct haven of avant-gardemusical brilliance in New Yorks East Village? If so, youll getElectric Brew in a heartbeat and wish you could see itselegantly experimental music performed live on that well-trod-den stage. Composer Bob Gluck combines lithe piano play-ing with processed shofar (rams horn) and a wide variety ofcomputer-sourced sonics to create an engaging tapestry ofliving sound; the title track reinvents themes from Miles Davis

Bitches Brew with the help of algorithmically-generatedpiano motifs, for example, while In the Bushes builds onsamples of speeches given by Americas 43rd President andtriggered by notes of the piano. Electric Brew is a welcomereminder of what magic can happen when rules are not somuch broken, but taken out of the equation completely.Highly recommended. Michael Gallantelectricsongs.com

MOR E ON KEYBOAR DMAG.COM KEYSPACE

Jeanne Peterson is not your everydayoctogenarian. The 87-year-old fierce-fin-gered pianist presides over a Minneapolismusical dynasty that spans three genera-tions, and extends into every conceivablemusical niche. Her late husband Willie wasa much-heralded jazz pianist, and playedorgan for the Minnesota Twins. Sons Ricky(keyboards), Billy (bass), and Paul (guitar)have worked with virtually every powerplayer in the music pantheon, from DavidSanborn and Prince to Steve Miller andBonnie Raitt. Daughters Patty and Linda

are accomplished singers, pianists, andsongwriters as well, and grandchildrenJason, Isaac, and Vanessa play saxophone,drums, and sing, respectively.

Peterson grew up a child prodigy, pick-ing out melodies and chords on the pianoat the early age of three. My mentors wereOscar Peterson, Art Tatum, and Bud Pow-ell, Peterson tells me. And my educationwas listening and copying. At the age of15, her older brother, saxophonist DonaldPouliot, convinced her to audition for herfirst professional job as a singer. When the

pianist didnt know one of her selectedsongs, Peterson simply replied, Thatsokay, Ill play it for myself. And the rest isMinneapolis musical history.

Peterson would go on to become a sta-ple of the Twin Cities broadcast circuit,anchoring famed radio station WCCO as astaff pianist and singer for 22 years, allwhile simultaneously applying her musicalgifts to a plethora of performance andrecording work. That work continues to gostrong, including recent albums My Calen-dar and Young And Foolish.

Petersons marriage to Willie would setin motion a sonic training ground of sorts,with each of her now-acclaimed childrengrowing up immersed in music. We hadrehearsals in the basement, and there wasalways music going on in the house, shetells me. My five kids heard all of this, andthought every household was like that. Thekids would say to their friends, What doesyour dad play?

More than 70 years after landing herfirst gig, Peterson continues at full speed,with touring and recording dates bookedwell through this year and beyond. Imhappy to say that I am still busy, she tellsme. What advice can she offer to aspiringmusical hopefuls? Besides learningchords and reading lead lines, I would saylisten to the great players. My educationwas listening and learning. Jon Regen

For more on Jeanne Arland Peterson, visit jeannejazz.com.

JEANNE ARLAND PETERSONJazz Matriarch of Minneapolis

Unsigned Artist of the MonthELECTRIC BREW

0 6 . 2 0 0 9 K E Y B O A R D 11

Webpage: myspace.com/blackgoldEarly inspiration: It all started with myfather who is a very talented musician.When I was as young as I can remember, Iused to sit next to him at the piano andsing songs with him. I was so amazed bywhat he could do that I started to beg forpiano lessons when I was five.Most influential records early on: Igrew up listening to a lot of the Beatles,Elton John, and Billy Joel. Those were prob-ably the first records that really taught mehow to play rock music on the piano.Play by ear or sight-read: I can readpretty well, but at this point I learn mostmusic by ear. I find its the best way for meto memorize a song. If I just read the musicfrom the page, my brain doesnt retain allthe changes.Practice regimen: I spend a lot of time

everyday at the piano, but Id hardly call itpracticing. I spend most of my time justlearning new songs and writing.Songwriting inspiration: Sometimes itssomething that happened to me or a closefriend. Other times it comes from a ran-dom stranger on the street who fascinatesme. Inspiration can come at any time, so Itry to just be patient and let it happen. Thereal trick is to nurture it as soon as it1comes. If you put it on hold even for aminute, it can disappear.Touring rig: Ive been touring with a Wurl-itzer 200A for quite a while now. Unfortu-nately, its extremely difficult to keep runningproperly. She can be quite a fickle girl, so Ialso bring a Nord Stage 88 with me in casethe Wurly goes down. The Nord is the clos-est to the real thing that I have been able tofind, and its been really reliable.

Gear wish list: I would love to see some-body re-issue the Wurlitzer 200A. They dida pretty great job on the Rhodes re-issue,but I would love to get my hands on abrand new Wurly. Maybe a newly-constructed one would hold up a little bet-ter than the 40-year-old one that I have.Words of wisdom: Just learn to play allthe songs you love and always write music,no matter how much of a beginner you are.Nothing will teach you more than learningfrom your idols. Robbie Gennet


The music: Deep tech and progressive house, with intelligentflourishes of ambient and experimental electronica.Webpage: kingroc.com and mutualsocietymusic.com Favorite gear: First and foremost, my Mac, but I also love myKorg Kaossilator and JazzMutant Lemur.Favorite songs: Bloc Party, Halo; Jeff Buckley, Grace.Influences: Heres a sampling of whats been on my iPod lately:Alif Tree, Alex Smoke, Alison Krauss and Robert Plant, AphexTwin, Bloc Party, Blondie, Bob Marley, Camille, Editors, Feist, JeffBuckley, the Kills, Leftfield, Massive Attack, Michael Jackson, NinaSimone, Pearl Jam, Rage Against The Machine, Red Hot ChiliPeppers, Rodrigo y Gabriela, Sigur Rs, Smashing Pumpkins.Play by ear or sight-read: By ear, mostly. I do have some train-ing in how to read music, but I trust my feelings more than I trustmy training.Newest project: Putting my live show together using elementsof the album songs and also remixes and EP tracks Ive done.Also, Im about to work on some new Two Armadillos remixes andoriginal productions.Practice regimen: Work hard during the week and play hardduring the weekend.Words of wisdom: You get what you give, but never give inorder to get. Francis Preve

BLACK GOLDEric Ronicks Piano Rock

MARTIN DAWSONElectronica with King Roc and Two Armadillos

12 K E Y B O A R D 0 6 . 2 0 0 9

KEYSPACE ARTISTS, ADV ICE, COM M U N ITY

Good work, musical or otherwise, canbe scarce these days, so the more thingsyou can do well, the better chance youhave of continuing to make music your soleprofession. Whether youre a hired gunwhos a household name, or a sideman orbandleader looking for better exposure,now is the time to get your musical andsocial skills together. Theyre not givinggigs away when you open a checkingaccount you have to earn them one mas-terful step at a time.

1. Know the music. I dont care if youre funnier than Chris Rock or have chops for days. Dont show up to an audition, rehearsal, or gig without knowing the material inside and out.

2. Play it, dont say it. Leaders hire sidemen for one reason only: to play the hell out of their music. Theyll hear everything they need to know through the notes you play, so let your groove do the talking.

3. Re-musicize yourself.Thinking you know it all is your fast

track to obsolescence. Make this the year to expand your musical palate. Learn a new instrument in addition to your primary axe, update your technical skills, and delve into new musical genres.

4. Dress for success. Research the visual vibe of the artist youre working with to ensure a stylistic and a musical fit. Looking the part is sometimes just as important as playing it.

5. Positive power. Nothing, not even bad musicianship, is as debilitating as negativity. Make a resolution to exude positive vibes this year. In my own bands,I look for players that elevate the mood aswell as the music. Getting the gig often involves getting a reputation as someone who people want to be around, on and off the concert stage.

6. Ask and you shall receive. Navigating the peaks and valleys of the music business involves a cunning combination of discipline and drive. Some of the most heralded players succeed because they are constantly on the prowl for the next gig. Sometimes that next great gig is just an inquiry away ask and you just may receive!

Career CounselorSix Tips for Being a Better Sideman

Ive had a strange month. By the timeyou read this Ill be a full-time L.A. resident,playing nightly on the new Tonight Showwith Conan OBrien, and hopefully doingsome interesting gigging and session worklike Ive been doing here in New York. Forthe last few months, Ive been in a weirdin-between-the-coasts limbo.

When I call people on the phone, theysay, Hows L.A.? or Arent you goneyet? When I answer the phone its like . . .well, nothing because the phone hasntbeen ringing! In a business where perception

is everything, the perception is that Ivealready left New York, ironically, at a pointwhen Im unemployed and could reallyuse a few gigs!

Which got me thinking. How does onemake the phone ring? How am I going tomake the phone ring in a new town? Its auseful exercise to ask yourself: Why do I getthe calls I get? Is it because of my reputa-tion? Is it because I already have the gig, orbecause Im a tireless self-promoter?

As I said, perception is everything. If itsyour reputation that gets them calling, then

make sure you live up to it. If you already havethe gig, then own the gig and never rest onyour laurels. Practice, take lessons, and con-stantly raise your standards. And if its yourstyle, kick up the social and professional net-working. Are you good with Facebook? Areyou on LinkedIn? Remember, Craigslist isntjust for personal ads and selling old gear. Andif youre a tireless self-promoter, then I saluteyou, because I cant do that. Keep it up.

People hire people they know, respect,and think theyll enjoy working with. It alsohelps if they think youre still in town.

by Jon Regen, recording artist of critically acclaimed album, Let It Go

Session SenseiCross-Country Blues by Scott Healy, keyboardist for The Tonight Show with Conan OBrian

Jon with his sidemen.

14 K E Y B O A R D 0 6 . 2 0 0 9

When Mariah Carey was asked to singHero at the Neighborhood Ball in Wash-ington, DC, to celebrate the Inauguration ofBarack Obama, I was absolutely thrilled tobe a part of it! Heres a peek behind thescenes at this presidential affair.

Because we were going to be using ahouse band, most of the usual Mariah Careyband members were not able to come. Wewere able to bring our background singersand Mariahs usual MD, Eric Daniels. Erichad to transcribe the music for the houseband and chart it out; see page 34 of thisissue to play the exact piano part Ericused. Ray Chew was the MD for the eventitself, and the house band did a great jobwith Hero as well as the rest of the starsthey played behind at the Neighborhood Ball.

Of course, security was very tight. Weeach had to send a photo, and copies ofall of our identification, for the SecretService to thoroughly clear us to be in theNeighborhood Ball. Since I was going tobe backstage at the same time as thePresident, I underwent even morescrutiny, and once the show began, Iwasnt allowed to leave my station untilthe President and Vice President left theball. I was impressed with the profession-alism and skill of the Secret Service. I had

a chance to speak to a couple of them,and made a point of saying, Take care ofhim, okay? One of the agents actuallygot a little emotional and told me, Ofcourse. Hes our President too. Thatreally got to me.

We had a few hours the day before theshow to rehearse and camera-block withRay and the house band. There were twostages in the room, one for the houseband and various artists, and the otherstage for Stevie Wonder and the otherartists doing Signed, Sealed, Delivered Maroon 5, Jay-Z, and several others.Rehearsal went fine, and then we got inthe vans to go back to our hotel in FallsChurch, Virginia, since everything in townwas booked. The DC police were in theprocess of closing down most of thestreets for the Inauguration, so while thetrip in took 20 minutes, it took almostthree hours to get back out.

On Inauguration day, we were told thatonce we got in the building where we wereplaying, we couldnt leave; I wasdisappointed not to be able to see theinauguration in person. We did get to thegig in time to watch it all on TV, though.

The show was broadcast on ABC, andtheres nothing like being on live TV to get

the old nerves going. Thankfully, nothingwent wrong and Mariah was happy. Back-stage, I was about ten feet away from thePresident. What a great night! This wasone of those times when I cant believe Iactually get paid to do this.

by Mike McKnight, music technology wizard for Mariah Careyand others.

MOR E ON KEYBOAR DMAG.COM KEYSPACE

Ask Mike All levels of questions are welcome and we promise to keep your surname and email confidential.To ask Mike a question, visit mcknightsoundsinc.com.

On page 20, I was honored to writeabout Michael Bearden, keyboardistat the We Are One concert in front ofthe Lincoln Memorial on Martin LutherKing Jr. Day broadcast on HBO; RayChew, musical director at the Neigh-borhood Ball on ABC live; and mygood friend Eric Daniels, Mariahsmusical director who played pianoand transcribed the song Hero forthis event. I think youll all enjoy theirinsights and advice.

The Neighborhood Ball in Washington, DC, which celebrated the Inauguration of President Obama.

Mike McKnight mans the computers for MariahCarey, backstage at the Neighborhood Ball.

150 6 . 2 0 0 9 K E Y B O A R D


MELODY GARDOTMY ONE AND ONLY THRILL

Singer, songwriter, andmulti-instrumentalistMelody Gardot madeheadlines in 2007 with therelease of her debut album

Worrisome Heart on Verve. Two years later,she returns with the haunting My One AndOnly Thrill, which masterfully mixes jazz,pop, and Latin textures into a sound all herown. With lush string arrangements by thegifted Vince Mendoza and ace productionby Larry Klein, the album frames Gardotsgorgeous voice (and stellar songwriting)amidst a varied soundscape that includesBrazilian beats, Sinatra-style strings, andEllington-flavored trumpet interludes. OnThe Rain, she draws you in amidst a bedof piano chords that ring out like a mutedlovers lament. And on Your Heart Is As

Black As Night, she tells the tale of lovegone wrong, while a swirling Hammondorgan echoes her battle cry. Surely to beone of 2009s most heralded releases,My One And Only Thrill is a sonic thrillindeed. Jon Regen(Verve, vervemusicgroup.com)

JULIE MCKEEWHAT A WOMAN SHOULDNT DO

This is a vintage keyboardenthusiasts dream. TheLondon-based singer-songwriter heaps on ahealthy dose of piano,

electric piano, and Hammond organthroughout this 11-song opus to love, loss,and life. McKee has a penchant for grittyWurlitzer grooves check out infectioustunes like Nobodys Farm and All AboutYou to sample her knack for writing memo-rable riffs on the Wurly. Framed by a funk-infused band (featuring Rob Gentry onorgan and Joe Leach on synths), McKeeshines both on uptempo, dancified tracks,and torchy ballads like Carousel and Sum-mer Weather in My Heart. Whatever it is awoman shouldnt do, McKee does everythingshe should on this impressive release. Jon Regen(Shrewd Records, shrewdmusic.net)

FRED HERSCHPOCKET ORCHESTRALIVE AT JAZZ STANDARD

Fred Hersch has been qui-etly rewriting the rules ofjazz piano for the last threedecades so its no sur-prise that he does so again

on Live at Jazz Standard, his stellar newquartet recording on the Sunnyside label.

With the hushed touch of a Zen master, andthe guts to frame his poignant piano work ina quartet that trades the traditional basschair for a female vocalist, Hersch shines onthe albums ten original tracks. Stuttering,the sly opener, combines a Monk-esquemelody (performed in perfect unison byHersch, Ralph Alessi on trumpet, and thenimble-voiced Jo Lawry singing), with ametrically modulating drum beat, courtesy ofRichie Barshay. And on Childs Song,Herschs plaintive piano is affecting for itsstark and supple sound. Live at Jazz Stan-dard is another winner in Herschs alreadyimpressive recorded catalogue. Jon Regen(Sunnyside, sunnysiderecords.com)

BARNEY MCCALLFLASHBACKS

The latest by Australianexpat keyboardist and com-poser Barney McCall is onewild musical ride. Equalparts jazz, world, and experi-

mental, it mutates the very minute you thinkyouve figured it out. Elequa Dictate, theopener, ropes you in with the sneaky sound ofRhodes and syncopated horn stabs thenlets loose on a journey to the center of 70s-era, Herbie Hancock-inspired fusion. The titletrack is a Pat Metheny Group-meets-free jazzexploration with a shifting, bebop-inspiredmelody. McCall is a fluid improviser, his pianolines effortlessly navigating the rapidly chang-ing chordscape with eloquence and ease.Other standouts include guitarist Ben Mon-der, drummer Henry Cole, and the urgenttenor saxophone work of Billy Harper. Guar-anteed to sound like nothing youve heard in along time, Flashbacks is worth the trip. Jon Regen(Extra-Celestial/Scrootable Labs, barneymccall.com)

CDREVIEWS

Take the KEYBOARD CHALLENGEKeyboard Challenge, May 09Depeche Mode [our cover story in last months issue] has done a great job of staying relevant through 29 years of musi-cal shifts. What do you think is the single biggest key to maintaining a successful career that spans decades?

80s-LZ: Short and simple write good songs. Depeche Mode has always tapped into the latest technology for interesting sounds.Unique and interesting sounds create that instant appeal that gets peoples attention in the short term, but to have staying power, thereis no substitute for a well-written song. Many bands come and go because they rely too heavily on the current fad or latest technology,which eventually becomes obsolete.

For all the answers to this and previous Challenges, visit keyboardmag.com and click on Forum.

16 K E Y B O A R D 0 6 . 2 0 0 9

MOR E ON KEYBOAR DMAG.COM

Go See

Marcia Ballmarciaball.com

Amanda Palmeramandapalmer.net

Booker T.bookert.com

Black Eyed Peasblackeyedpeas.com

Metricilovemetric.com

Check out these keyboard-heavy acts, on tour this month.

Webpage: touchofclasstx.comDay job: Im retiring from a 25-year software career to join thelocal college accounting faculty inthe fall. I think accounting, software,and keyboards have a lot in com-mon logic and orderliness, withsome flashes of creativity. How I got started: As a kid in the50s, I started with accordion,and tried drums. But I found Icould get gigs playing keys. Inhigh school, I loved Ray Manzarek,bought a Rhodes Piano Bass,and stayed employed by replac-ing two players. I gigged fornearly ten years until burnout setin. I quit for 18 years to raise afamily and get an education. In 98

I joined a companygarage band as aChristmas party gag. Itrekindled the fire. I builta recording studio in thehouse, started acquir-ing gear, and hookedup with some localmusicians.Band: Temple, Texas-based Touch of Class is a greatcover band playing 60s and 70sstandards. The whole band is myage, equally experienced, andalmost impossible to stump. Weplay everything from Iron Butterflyto Patsy Cline. On Sunday morn-ings, my wife and I run a praiseteam at our church.

Influences: The Rascals, theDoors, Three Dog Night, andTower of Power. I also think BruceHornsby is the best.I play because: Its fun. I wasborn to do this. Ive beensuccessful in business and aca-demics but still think of myself asa displaced musician. Ed Coury

KIRK FISCHERWEEKEND WARRIOR

My Yamaha Tyros 2 blows away everyone who hears it, says Kirk. It goes to every gig. My RolandVK-7 organ, combined with a Motion Sound KBR-3D rotary speaker amp, is my favorite toy and makesmost gigs. I add the Yamaha P80 for the 88 keys if the stage has room.

Tower Of Power, Back to Oakland (Warner Bros, Wea)

Weekend warrior Kirk Fischer admires the legendary horn-based soul band Tower of Power. My favoriteorgan solo of all time is Chester Thompsons tour de force, Squib Cakes, on the album Back to Oaklandfrom 1974, he says.

KEYSPACE

170 6 . 2 0 0 9 K E Y B O A R D

N EW G EAR

Want to check out the same press releases that we see about new gear, as soon as we receive them?Go to keyboardmag.com/this-month/latest-news

M-AUDIO STUDIOPHILE DSM3TWO WOOFERS ARE BETTER THAN ONETHE PITCH M-Audios highest-end studio monitor, co-developed with sister company Digidesign. THE BIG DEAL Dualmidwoofer design pumpsout as much bass as a largersingle woofer, while widen-ing the sweet spot in whichyou can hear your mix accu-rately. Onboard DSP con-trols the crossover and tunesthe speaker to the room.WE THINK M-Audiosdual-woofer EX66 blew usaway in Nov. 07, so wereanxious to see if this takesthe idea to the next level.$899.95 each, m-audio.com

NOVATION SL MK. IIPREMIUM CONTROLLERS RELOADEDTHE PITCH Novation checks off the wish list of many aloyal ReMote SL user.THE BIG DEAL Touch-sensitive knobs and fadersmean you dont need to move a control to see what it does.Backlit buttons. Improved feel and response of drum pads.Automap 3 Pro software instantly maps controls to appsand plug-ins, and lets you use multiple Novation controllers including the Nocturn and older ReMotes.THE SIZES 25, 49, or 61 keys, plus the keyless Zeromodel, which adds longer faders and a DJ crossfader. $TBA, novationmusic.com

by Stephen Fortner

TC-HELICON VOICETONE SYNTHWE HEAR VOICES. THEY SAY, PROCESS ME!THE PITCH The most in-demand, dramatic vocal effects fromtodays music, all in one stompbox.THE BIG DEAL HardTune does that pitch-jumping that urbanR&B and Chers Believe have in common. Massive Band vocoderhandles everything from vintage emulation to highly articulate robotvoices. Voice-controlled synth mode lets you get the robot soundsolely by singing no keyboard needed!WE THINK Whether you fine these effects to be essential orclichd, getting them has never been easier especially live.$395, tc-helicon.com

AKAI MINIAKATOM-SIZED AND POSITIVELY CHARGED

THE PITCH Akais drum and sequencing prowessplus Alesis virtual analog chops, rolled into a smallbut mighty performance synth.THE BIG DEAL Three oscillators for fat sound.

Eight-way multitimbral. Built-in sequencer with realtimeand MPC-like step modes. Separate rhythm sequencer for

drum sounds. Can process external audio through synth filtersand effects. Vocoder with included gooseneck mic.WE THINK For this price, it looks like a monster.$499.99, akaipro.com

18 K E Y B O A R D 0 6 . 2 0 0 9

MIXOSAURUS DAW DRUMS HARD DRIVIN DRUMS THE PITCH Ultimate sampled acoustic drums forcomputer-based studios. THE BIG DEAL Mixosaurus sampled a single drum kit,played as if recording a song, for cohesive sound. Huge122GB sample set plus deep Kontakt Player 2 implementationenables ultra-realistic articulations and mixing. Comes on itsown hard drive so theres no install time.WE THINK The audio demos weve heard are extremelyimpressive. $799, mixosaurus.com

BOSE L1 COMPACTMOST PORTABLE BOSE PA YETTHE PITCH The premium sound of the L1 Model II(reviewed Feb. 08) just got easier to carry and afford.THE BIG DEAL Subwoofer is integrated into base,unlike larger L1 systems. Can be set up with mid-high speak-ers atop the column or in tighter quarters, collapsed into thebase as shown.WE THINK The ability to leave it in collapsed mode andcarry it one-handed just might make it the ultimatekeyboardists gig amp.$999, bose.com/livesound

N EW G EAR

CLAVIA NORD C2PLAY TWO MANUALS, CARRY UNDER ONE ARMTHE PITCH Successor to the ultralight Nord C1 clonewheel organ.THE BIG DEAL Firmer action than C1. Drawbar buttons double as stopsfor new pipe organ sounds. Output routing can send B-3 sounds to the 11-pinLeslie and 1/4" hi-level jacks while all other sounds go out the main stereo pair. Key clicklevel is now adjustable.WE THINK We loved the portability and sound of the C1 (see Keyboard, May 07), and we cantwait to review the C2.$TBA, nordkeyboards.com

CAKEWALK SONAR V-STUDIO 100V-STUDIO TO GO

THE PITCH Record multitrack audio to a PC using included Sonar VSsoftware, or record in stereo without a computer to the onboard SD card slot.THE BIG DEAL Audio interface/control box has touch-sensitive,motorized 100mm fader and Sonars Active Controller technology.Enough inputs for two mics, a guitar, and a stereo keyboard, plus RCA

inputs for an iPod or similar player. Can be a standalone digital mixer with hard-ware-powered EQ, compression, and reverb.

WE THINK This little hybrid is a great way to take the capabilities of the V-Studio 700(reviewed Apr. 09) on the road and the price is lower than we expected. $699, sonarvstudio.com

190 6 . 2 0 0 9 K E Y B O A R D

20 K E Y B O A R D 0 6 . 2 0 0 9

At the Lincoln Memorial two days before the Inauguration, the Obamas and Bidens (far left) enjoy theWe Are One finale as Beyonc sings America the Beautiful at center stage, with Stevie Wonder onharmonica. At bottom right, Michael Bearden mans Hammond B-3 organ and synths see page 72 formore on his keyboard rig. Behind Beyonc are all the stars who performed music or historical readingsat We Are One visit keyboardmag.com to learn who they all are.

210 6 . 2 0 0 9 K E Y B O A R D

that the Inauguration of the 44th President of the United States was a truly historic musical event, as well as a political one. Imaginegetting the call to be one of the key musicians. What does it take to prepare for and do a gig of this magnitude? Whats it like tolook out over one keyboard stack at an endless crowd, and over another at the President? How do you accompany one major starafter another, when keeping just one happy is no small feat? How do you reach a level where this could happen to you? Keyboardtalked with three master players who know firsthand: Michael Bearden (page 24), Ray Chew (page 25), and Eric Daniels (page 26).

Name MichaelBearden

Ray Chew

Eric Daniels

Big Break Hired to play with WhitneyHouston in 1990.

Became musical director forAshford and Simpson at age 19.

Became touring keyboardistfor funk legends GrahamCentral Station at age 18.

Past Gigs Sting, Ray Charles, Queen,Aretha Franklin, Rod Stewart,Mary J. Blige, Usher, BrianMcKnight, Lionel Richie, JohnMayer, Liza Minelli, Ricky Mar-tin, Boz Scaggs, ChristinaAguilera, Herbie Hancock.Has been musical director forDAngelo, Jennifer Lopez,and Madonna.

Donnie Hathaway, RobertaFlack, Melba Moore, DianaRoss, Chaka Khan, SaturdayNight Live band, BET, TheSinging Bee on NBC, MissUniverse pageant, and the2008 Democratic NationalConvention.

Janet Jackson, Boney James,Backstreet Boys, GeorgeDuke, Brandy, TLC, MichaelBolton, Rachelle Ferrelle, TheGap Band, ConFunkShun,Ray Parker Jr., Live 8 in Lon-don, American Idol, Oprah,48th Grammy Awards.

Current Gig Just hired as musical directorfor Michael Jackson.

Musical director and producerat the Apollo Theater.

Keyboardist and musicaldirector for Mariah Carey.

Role at Inauguration

Keyboardist for HBOs WeAre One concert at the Lincoln Memorial.

Musical director of Neighborhood Ball.

Pianist as Carey sang Herofor the First Couple.

Webpage myspace.com/michaelbearden raychew.com ericdanielsmusic.com

Whatever your politics, theres no denying

Background Check

22 K E Y B O A R D 0 6 . 2 0 0 9

As a glance at his credits proves, MichaelBearden was the guy every keyboardistwants to be, even before he got the call toplay in the house band for the pre-inauguralWe Are One concert that aired on HBO.

Tell us about your training and discoveryof music.Michael Bearden: I started playing pianoaround age five and drums not long after. Iattended conservatories and had extensiveclassical instruction coming up, but most ofmy training is on-the-job. Some of my earli-est mentors include Ramsey Lewis, HerbieHancock, and Stevie Wonder, all of whom Imet or worked with while still a teenager.

Growing up on the south side of Chicagowas great. We listened to and played every-thing from the Jackson Five to Curtis Mayfieldto Led Zeppelin to Elton John to the DoobieBrothers it was all just music to us. I hadno idea I was being trained for the eclecticmix of gigs I would do later in life. How did you get the inaugural gig? For the last seven years or so, Iveperformed at the Kennedy Center Honors. Ialso play the annual Christmas In Washing-ton telecast in DC. Those two shows areproduced by George and Michael Stevens.In the green room at Christmas In Wash-ington, I happened to ask Michael, Are youguys doing anything for the Inauguration?At the time, there were a million rumors, buteverything early on was secretive. Michael

told me to wait by the phone for a few days,but couldnt say anything more. Turns outhe and George were producing We AreOne. Sure enough, when I got home to L.A.a few days later, I got a call from RobMathes. He said, Are you sitting down? Ivebeen asked to direct the show at the Lin-coln Memorial. Please tell me youre avail-able so I can breathe a little easier. I said,Absolutely, whatever you need! What did he look for in hiringmusicians? As for most televised gigs, you need to beable to play any style at a moments notice.However, the main and sometimesoverlooked issue is simple: Are you a teamplayer? Are you fun or a drag to be around ina pressure-filled situation? The MD is alreadyunder tremendous pressure to bring manyelements of the show together:arrangements, key changes for differentartists, timings for TV, several choirs, soundfor the broadcast truck, front-of-house sound,lighting cues, gear, egos, entourages, andeverything that goes with a big show. Is reading music mandatory?Yes, for every musician, no way around it. Inmy opinion, though, the biggest commodityis big ears. You have to listen very activelyto everything around you. Even stars getnervous, even top musicians forget, evengood gear malfunctions, and things alwayschange. There are no do-overs in a live situ-ation, so always remember its not the

mistake, its the recovery!Did you get charts, or just basic mixesto learn the songs for all the stars youplayed with that day? Rob did most of the arranging and had twogreat copyists/arrangers, Mike Casteel andJamsheid Sharif. We didnt see any sheetmusic until the first day of rehearsal, whichwas also a day of making pre-recordingsfor the artists and director to work from.This great Pro Tools engineer, DaveODonnell, was with us at every moment.All of the songs chosen for this event had acommon theme: America as the unity ofdifferent kinds of people. Since we all knewthese songs, we didnt have basic mixes tolearn from. We just added our soul toRobs new arrangement. You and the house band played live,but what about the orchestra? Someof the violinists were wearing gloves. Since something always goes a bit differ-ently than rehearsed, playing live lets usreact more quickly to mistakes. Besides,unless youre doing shows like Top Of ThePops or Soul Train, playing to a track looksridiculous, and I felt that Obama deservedthe very best show we could give him.

On the other hand, pre-recordingswere necessary for the orchestra. Mostorchestras wont perform outside if itsbelow 40 degrees Fahrenheit. Theirinstruments are rare and vintage, the coldaffects the tuning, and insurance doesntcover cold-related damage. They wereprovided some futuristic-looking graphiteinstruments to mime what theydrecorded at this big hall at Fort MeyersArmy Base. They recorded and mimedeach arrangement flawlessly!How does it work when youre in thatkind of cold for that long?Cold isnt the word more like Arctic!Bassist Nathan East and guitarists ShaneFontayne and Keith Robinson had it theworst bare fingers on strings in minus-two-degree wind chill as we rehearsed forcamera blocking. The rest of us could atleast try to play with gloves on. Some hornsfroze up to the point of being unplayable.Bono of U2 told me hed never been thatcold in his life!

It was an honor to be there, though, sowe got through it. I had the crew installheaters from Target around my rig a trick Iborrowed from Paul Shaffer. One for the B-3,one for the Leslie, one by my Motif/NeKo

MICHAEL BEARDEN

Presidential Props: Barack Obama greets keyboardist Michael Bearden just afterHBOs We Are One concert at the Lincoln Memorial. See keyboardmag.com for

an online extra about Michael meeting the President and First Lady.

NATH

AN E

AST

24 K E Y B O A R D 0 6 . 2 0 0 9

What was it like to play with . . . James Taylor: A few days before he was to be in DC with us for rehearsal,he had a fall that busted up his left eye pretty badly and required stitches, buthe was determined to be at the Inauguration. He sounded amazing, and hes aconsummate professional. I dont think theres a nicer human being on theplanet than James.Stevie Wonder: After we worked out this syncopated ending for HigherGround, Stevie was satisfied, so we started jamming. A few of us had playedwith Stevie before, so we know that he loves to break into Coltranes GiantSteps. He also treated us to a song nobody ever heard before. We jammedalong as best we could with the amazing changes on this bossa nova-like tunehe was singing. Everyone was trying to figure out which album it was from.Later, we found out hed just made it up. That kind of stuff is priceless!Herbie Hancock: I was influenced by Herbie from a very young age. I had hisalbum covers taped to my wall. Working with him is akin to an alto sax playerworking with Charlie Parker. Herbies influence is more than just musical. He always says that youre a human being in the worldfirst, and you just happen to play music. Garth Brooks: We rehearsed a medley of three songs, American Pie, Shout, and We Shall Be Free, in a heated tent. Therewas a big choir and the band all packed in there, then Garth comes in with enough energy to heat DC. The way he works is tohave you put yourself into the songs the way you feel them he dictates nothing. Bruce Springsteen: Bruce originally wanted to add the full band to The Rising about mid-song. But as he worked with just thechoir and his acoustic guitar, magic happened. We never rehearsed it or played it onstage, because Bruce loved the version theydcreated. I dont know if the producers envisioned this huge show opening with an acoustic/vocal arrangement, but Bruce made asmart move if you ask me. I dont think he wanted people to see a bunch of A-list ringers up there with him instead of the bandthats been with him his whole career. Plus, musically, it worked! Michael Bearden

stand to warm the keys and my hands, onefor my feet, and one near the keyboardbench. [See page 72 for a diagram ofMichaels Inauguration rig. Ed.] It was stillfreezing. I had to swap out the B-3 onstagefor the one in the tent because the cold putthe tonewheel generator out of tune. Theorchestra got heaters as well, and we hadto add an extra AC circuit just for all theheaters. Thankfully, show day made it intothe upper 30s it felt like Hawaii! What issues that affect musicianswould you like to see Obamas

administration address?Quincy Jones has distributed a petition tosend to congress and the President,encouraging the creation of a positioncalled Secretary of Arts and Culture. A lotof countries have something similar, so whynot us? He has the ear of quite a few rep-resentatives and senators, and assuresme something is brewing. [View and signthis petition at petitiononline.com/esnyc/petition.html. Ed.]If you were in that position, what issuewould you tackle first?

Music and art should be on equal footingwith math, science, reading, and other fun-damentals. It shouldnt be just some after-school activity for a privileged few. Musiceducation is the main reason Ive accom-plished everything in my life. If music cantake a kid like me from the south side ofChicago to performing at the Inaugurationof the President, it can do something justas profound for every kid whos seriousabout making it. I am not special. We justhave to make sure the same opportunitiesare there for all who wish to pursue them.

After the swearing-in, the NeighborhoodBall made history for being open to thepublic, unlike almost every past inauguralgala. As with the We Are One concert,logistics required paring down to a singlehouse band, as opposed to the full bandsof the different headlining artists. RayChew was the lucky guy who got to keepall those stars happy.

How did you get into music?Ray Chew: My formal training came fromevery musical institution in New York City!

[Laughs.] Starting at age five, then La GuardiaHigh School of Music and Art, then ManhattanSchool of Music. I had great mentors such asMerl Saunders and Coleridge-Taylor Perkin-son. When I was a kid, Merl would take mearound to his gigs with Miles Davis and LionelHampton. I even got to sit in with Hamp onvibes! Perk would be around cats like MaxRoach and Dizzy Gillespie. I was that kid always hanging around, waiting to play.As MD, did you get to handpick whowas in the Neighborhood Ball band?I usually decide on all of the people on my

RAY CHEW

Herbie Hancock (left) and Michael Bearden(right) had worked together on HerbiesCD/DVD of duets, Possibilities.

NATHAN EASTJAYNELL GRAYSON

250 6 . 2 0 0 9 K E Y B O A R D

team: musicians, arrangers, copyists,assistants, coordinators, and contractors.In this case, the producers and the inaugu-ral staff requested the same personnel Idpicked for the Democratic Convention,because they liked the results, and every-one had already been cleared by theSecret Service.What qualities did you look for in hir-ing musicians? Reading music is essential, because wehave a lot to learn in a short time. Also, thestandards are those of artists such as Sting,Alicia Keys, Mary J. Blige, and Mariah Carey.Musicians like these are used to their ownbands and everything being just right, so Ineed to deliver the same level of comfort. Ilook for a high skill level on your instrument,and an overall professional presentation ofyourself. A good personality can carry you along way in this business.How did you meet the varied expecta-tions of so many star performers? Lots of preparation! It started with severalconference calls with producers andartists managers, to determine the finalsong choices. I then talked with the artiststhemselves to go over their personalwishes for the performance, keys of songs,and arrangements.Did you do the charts yourself?Im an arranger by craft, but with all of theartist relations and managerial tasks thatare part of my MD job, I dont have time towrite all of the charts. So, top-notcharrangers and copyists are the MVPs ofmy music prep team. The arrangers aretake-down specialists wholl dissect arecording note-for-note, and sometimes

contribute their own ideas.Keyboardists always seem to be theones who interface with the audioguys to get the sound right. What wasthat like at this gig?As to the politics of dealing with audioguys, I tell them what Im looking for, thenlet them do their job without me steppingon toes or micro-managing. Fortunately, thecats who worked the Ball are the best inthe business. I show respect to all techni-cians, because we all have the same goal:a great show. What gear were you playing? A Yamaha Motif ES8 and a Korg Triton,plus a rackmount Motif. There was lot topay attention to in the production, so my

setup needed to be simple. In my in-earmonitors, I had the artists, musicians, andbackup singers, plus the director callingcues to me. So I had to partition mybrain to concentrate on playing themusic, being mindful of the artist onstage,watching the stage manager, and operat-ing my keyboard rig.Any advice for musicians who want toreach your level?Do whatevers necessary to be ready foranything when your time comes. Prepara-tion is the constant, opportunity is the vari-able, and preparation plus opportunityequals success. I define success asachieving short-term goals over a lifetimespan of pursuing your dreams.

PLAY BY PLAY WITH ERIC DANIELSby Eric Daniels, as told to Mike McKnight

The world is watching. Mariah Carey isabout to sing a huge hit for the Presidentand First Lady. Sitting at a grand piano,youre only a little less front-and-center thanshe is, and youve run the tune with thehouse band just three times. No pressure.

The SongHero is a classic pop piano ballad with

major chords throughout. For this event, I

kept it simple, staying true to [writer] Wal-ter Afanasieffs original form, and chosespecific spots to add my own touch.

A lot of my musician friends ask me,Why do you play so simply? Or moreoften, How do musicians know yourereally good if youre playing like that?Sure, I could play rings around the originalarrangement to prove Im an ultra-badmofo. Thatd ruin the vibe, upstage the

artist, and most likely, lose me the gig.

The Day BeforeWe arrive at the Washington ConventionCenter for the rehearsal as Mary J. Blige iswrapping up her segment; Beyonc is upnext. I ask Mike McKnight to print theHero charts Id just finished. (I useSibelius software for notation, which hasalways been flexible and intuitive for me.)

Learn to Play Hero, as per-formed by Mariah Carey and Eric

Daniels at the inauguralNeighborhood Ball, on page 34.

Ray Chew with Yamaha Motif ES8 and Korg Triton Pro, as the First Couple hit the stage for their inaugural dance.

JAYNELL GRAYSON

26 K E Y B O A R D 0 6 . 2 0 0 9

Sony Creative Software Music Loops & SamplesQuantity. Quality. Diversity. Innovation.From complete construction kits to the most detailed single instrument libraries,Sony Sound Series titles deliver fi delity, fl exibility, and diversity at a price you can afford. Presented in .wav format with perfectly placed metadata, our royalty-free titles are ready to work for you on todays most popular music creation and editing platforms, Mac or PC.

Now downloadable! Entire libraries are only a click away! To preview and purchase over 120 different collections, visit www.sonycreativesoftware.com/keyboardloops

Doug Colosio:American PianoTraditional country blues, stride,and country rock & ballad loops,performed by a seasoned pro andedited to perfection.

Structure/Capture:Future Retro DanceA completely unique IDMconstruction kit perfect for craftingheady, downtempo electronica orfuture retro broken-beat stormers.

Mick Fleetwood:Total DrummingThis collection reveals the core ofthe Fleetwood style, and showcasesbeats that changed the course ofmodern music.

Jade Hill:Rock/Pop GuitarA pop songwriters toolkit of chordstructures and guitar solos thatrange from clean and melodic tochunky and shredded.

Black Paint:Indie Rock AnthemsFrom pop and garage rock to screamo and UK dance-rock, this library comes with everything except the keys to the tour van.

Toyz:Circuit-Bent Glitch An electrifying assortment of beats,basses, pads, and FX for makingelectronica, breakbeat, jungle,industrial, and glitch music forms.

Flow & Function: The Hip-Hop PlaybookOld school fl are, hip-hopfunkadelics, and deep pockets ofmushroom jazz defi ne this stellarentry in our vast urban collection.

Caliente:Reggaeton Construction KitBlaze up your DAW with these 15 Reggaeton session folders and get low with authentic Dem Bow rhythms and instrumentation.

Cinemascape:Soundtrack ElementsA broad assortment of textures, melodies, and soundtrack elements designed to inform and interface with your video creations.

ahythmiA:Drums & DronesTwo discs of 24-bit industrialalchemy created by Nine Inch Nailsdrummer Jerome Dillon and NINsound designer Keith Hillebrandt.

Richard Devine:The Electronic Music ManuscriptBoutique sound design and subliminal electronica from the enlightened mind of Richard Devine. Includes exclusive video content.

Vital Drums:The Vitale CollectionSolid 24-bit drum rock grooves and one-shots from Joe Vitale and Joe Vitale, Jr. performed on only the most well kept vintage kits.

2009 Sony Creative Software Inc. All rights reserved. Sony and are registered trademarks of Sony Corporation. All other trademarks are the trademarks or registered trademarks of their respective owners in the United States or other countries.

I think well get to run Hero a coupletimes before Mariah arrives. Im wrong! Sheshows up almost immediately and wants torun it to nail down camera blocking, light-ing, and other important cues. Who canblame her? Ray Chew (see page 25) and Ihave a quick huddle. I check with Mike,whos on headset with Mariah. A minutelater we count off the song. We play it allthe way through with Mariah singing.

After she answers some technicalquestions for the director, Mariah says verynicely that she notices some unfamiliarchords and notes. Thats a diplomatic wayof saying, Play it right! I dont think sheknew that the band and I were playingtogether for the first time. I pass out thecharts, and it sounds much better the sec-ond time. The guys are on it the drum-mer even catches the ritard at the end ofthe bridge perfectly. She has no commentafter this pass. Yes!

Mariah leaves, we run it once more, andthats it. After playing it just three times, wedperform it on worldwide broadcast the next day.

Inauguration DayI wake up to inaugural coverage on everychannel, which adds to my anticipation of

performing for the new President and FirstLady that night. We leave at 9 A.M. to beatthe massive traffic thatll be coming intoDC. We arrive at the Convention Center toa tight security screening courtesy of theSecret Service.

In dress rehearsal, theres rarely theopportunity to perform your segment twice,so its your last chance to get it right.Because MOTU Digital Performer is runningadditional orchestral tracks, I wear in-earmonitors and play to a click. The count-inand click are loud enough for rehearsal, butadd the microphone ambience of a scream-ing crowd, and itll bury the click. So afterour run, I have the monitor engineer crank itup somewhere between an extra 2dB andOuch! Mike McKnight, whose count-invoice is recorded in DP, gives me an addi-tional 4dB boost. At such an historic gig, Isure dont want to be remembered as thedude who didnt come in on time!

ShowtimeWere ushered upstairs to a dimly-lit andunusually large curtained area, where all thecelebrities and their bands wait together fortheir cue to go on. Unlike awards showswhere everyone would be off in their sepa-

rate dressing rooms, this is a great time tomeet people from other bands and run intoold friends. You can feel the electricity.

Before we go on, I tell Mariah I actuallyhave butterflies. Not stage fright, but aphysical sense of anticipation and wantingto get it right. Ive only had them one othertime at my very first big concert, also inDC, in front of 19,000 people, some 20years ago! Believe me, once you hear thescreams of a large crowd, the nervousfeeling just evaporates and youll most likelygive them everything they came for and more.

While Maroon 5 plays on the otherstage, production rolls my Yamaha grandonto our stage; Alicia Keys would play itlater. I walk on, acknowledge Ray and ourband with handshakes and nods, settleonto the piano bench, adjust my clothes,and put in my in-ear monitors.

Mariah walks to her mic looking stun-ning. We wait for the stage managerscountdown for coming back from commer-cial break. Actor/rapper Nick Cannon [alsoMariahs husband], who was the MC andDJ, introduces her.

The next moment is the most difficult forme. In my ears I hear Nicks voice, the stagemanagers countdown for the cameras, andthe click and count-in for the song. Thinkabout it: One voice is counting forward,another is counting backward, and theresdialogue mixed in all at once! Lose it here,and theres no fixing it. Man, I love my job.

I mentally zero in on Mike McKnightscount-in and try to relax into its rhythm. Idont know how I manage this. I just do. . . .

I nail the intro and continue into the song.All along Im listening to Mariah and the

click and keeping my dance between thetwo invisible to the audience. Im absorbingevery facet of the performance now; thebass and drums are my secondary focus asMariah is the first. Its flowing beautifully andI relax more. We reach the bridge and Im infifth gear. We reach the outro and Im asrelaxed as ever. The band and backupsingers are flawless. I hit the final arpeggioand smile like a kid who just got handed anice cream cone.

Visit PimpMyMPC.com, where Eric Daniels createscustom samples for Akai MPC, Propellerhead Reason, and Native Instruments Battery.

More words and pictures from gigging atthe Inauguration are at keyboardmag.com!

Eric Daniels at his Yamaha grand piano preparingfor the big moment: Mariah Carey singing Hero

at the inaugural Neighborhood Ball.

JONI

E MC

KNIG

HT

28 K E Y B O A R D 0 6 . 2 0 0 9

Subscribe to our free B&H catalogwww.bhphotovideo.com/catalog

Visit Our SuperStore420 Ninth Ave, New York, NY 10001

Drop by our SuperStore where you can handle the gear of your dreams. Youll find an oasis of competitively-priced stock, and unrivaled customer service with the most knowledgeable sales staff anywhere.

800-932-4999Speak to a Sales Associate

With more than 30 years of renowned service, we continue to be the Professionals Source. Our sales staff is made up of industry professionals with years of experience. Simply call, and a Sales Associate will assist you with all your individual needs.

bhproaudio.comShop conveniently online

198,000 products at the tip of your fi ngers. Quick searches and live support help you get everything you want and exactly what you need. Create an account, make a wish list, and sign up for our newsletter, all in our secure environment.

TOOLS FOR

CREATION

MICROPHONES

SOFTWARE

PRINTERS

PERIPHERALS

2

009

B &

H F

oto

& E

lect

roni

cs C

orp.

JN

300

The Professionals Source

30 K E Y B O A R D 0 6 . 2 0 0 9

Norse Gods of SynthBack when Norwegian friends SveinBerge and Torbjrn Brundtland were 12

and 13 years old, respectively, theybought their first synths, a Korg MS-

20 and a Roland Juno-106. Theirdedication to vintage synths turnedout to be one of the best andcheapest investments they evermade. Years later, after releasingthree fantastic electro-pop albumsas Ryksopp (including their latest,Junior), those synths are still hold-ing court as reigning kings of theduos sound but theyve cer-tainly picked up a few more tricks

and gadgets along the way. Here, Berge and Brundtland talk

to Keyboard while visiting Amsterdam(with Berge nearly being run down by a

tram while on the phone) about layeringsounds, holding onto the magic of an origi-nal idea, and working with some of Scandi-navias best singers.

On Junior, you worked with vocalistswith very distinctive voices. How doyou decide which vocalist is right for aparticular song?Svein Berge: Well, for instance, Lykke Li she has a very sensual, percussive voice,which we thought would be in tune withwhat we wanted to present in the track

Miss It So Much, which was to be aromantic view without sounding too nos-talgic on missing analog in a digitalworld. So selecting voices is the sameprocess as selecting which sound shouldplay the lead, which sounds should play thechords, the bass kick, and so on.You guys wrote the basic idea for atrack on The Understanding at aparty to prove to some girls thatyou write your own music. Do yougenerally work out ideas together orseparately?Torbjrn Brundtland: We split it mainlyinto two ways. One is the more easy andfun way to do it: We meet up, hang out,listen to music, find some nice sounds,start playing with them, follow intuition,and record the bits that sound good andscrap what doesnt. The other way iswhere you have an image in your head,and you try to make it become reality.Thats always much harder.Hip-hop producer Just Blaze once saidwhen songwriters are so emotionallyattached to a demo version of a songthat theyre never happy with the finalversion, he calls it demo-itis. Haveyou experienced that? TB: Im flabbergasted that someone actu-ally made a word out of that. Its ingeniousand should go straight into the dictionary,

because I think everyone who has beeninvolved in music at some stage knowsabout that. I think thats a very personalthing that can lead to a lot of potential argu-ments between musicians because if yourecord something, there will always be onewho has a preference for a better recording,and another who has a preference for abetter expression. I remember reading inter-views with Portishead in their heyday, andthey talked about the importance of keepingthe original expression without re-recording,even though the original recording didnteven have the right lyrics. So I think that ifyoure able to find the right balance, thenyou are at the point where you want to be,because an early version is going to beflawed, and if you clean it up too much, themagic has disappeared.How do you keep the magic? TB: Lets say there are some crackles in arecording that somehow sound unwanted,but at the same time, you like it. You can gointo micro detail and say, I like thesecrackles here because they serve a pur-pose, but the crackles where the chorus iscoming in just sound plain unprofessional,so lets remove those and keep the onesthat I react emotionally to.How much do you still use the KorgMS-20 and Roland Juno-106 synths?SB: We still have them and use them for all

by Kylee SwensonPhotographs by Stian Andersen

310 6 . 2 0 0 9 K E Y B O A R D

theyre worth. But at the same time, we try toconceal to some extent when we use thembecause we dont want the synths to be tooeasily recognizable. The Junos sound inparticular is very distinctive. To concealthem, you can layer them with other synths.If, for instance, you want a pad, like a stringsound from the Juno, you can just add a dif-ferent pad or string sound from another key-board and let them play the same thing. Andyou can patch sounds through the MS-20and use the filters to mess around with it. Oryou can put some things through guitar ped-als, and there are so many plug-ins that canalter sounds in many ways.

In order to make what some peoplerefer to as warmth, we tend to send soundsthrough old tube compressors. We have afew Chandler Limited TG1 Abbey Roadcompressors because were so fond ofthem, and we have a very cheap, old,eight-channel Boss mixer. When we sendstuff through that, it sounds like its beenthrough a tape recorder 20 times.What was the process for creatingThe Girl and the Robot with Swedishsinger Robyn?

32 K E Y B O A R D 0 6 . 2 0 0 9

Ryksopp

SB: We spoke a little about Lykke Li withher sensual, percussive voice, whereasRobyn has the more traditional pop voice.Its very clear and versatile. So we askedher whether shed be willing to play withtwo shabby idiots in a cupboard in Bergen,Norway. Shes easy to trick, so she saidyes. We had already made a few ideas forthe song, and I think we had at least fourdifferent ways we could take it. At onepoint we had something that was moreorchestral with lots of strings. It was a bitmore pompous, and slower. We decided togo for the more uptempo, energetic take onit. We wrote the lyrics together and alsoshaped the main body of the melody ofwhat she sings.

As for the production, theres a bit ofthe orchestral synth, which is like the crownjewel for any train-spotter in terms of key-board fetish: the Vako Orchestron. Itsfavored by the likes of Florian Schneider ofKraftwerk, especially on their album, Radio-Activity. So we used the Orchestron mixedwith the choir from the Roland VP-330Vocoder, mixed with our singing. We singon top of these two synth sounds, theexact same chords, but it just makes awhole thick, rich thing. Its very low in themix, but it adds dimension to the wholesound. Plus theres a very nice kick, whichis sidechained by compressors into thechords, so that it sort of eats into the

music, which is a common way of makingthings pump. [See our Dec. 08 issue orkeyboardmag.com for a tutorial on makingyour tracks pump using sidechains. Ed.]There are a lot of intertwiningkeyboards, as on Vision One. Whendo you know youve got enough goingon or when you should cut back?SB: Thats the brain damage we have tous, its never enough! We like it to be a bitwrong. Dub music, for example, is greatwhen its lo-fi and a bit wrong. You canhear the hissing and the distortion. And youcan hear that some instruments might be

out of tune, and they might miss the beat.When it all becomes a bit stupid and off,thats something that we love. In terms ofbuilding a crescendo, as we do towardsthe end of Vision One, we just keep ongoing. But you dont want it to be acacophony of melodies trying to kill eachother. As soon as you start with your fifthmelody, and you go, Okay, now this isturning into a guitar solo, you have to backoff and rethink.

For more of our interview, visitkeyboardmag.com/features.

RYKSOPP SAMPLING SECRETSSamplers: Akai S series, including theS3200XL. In addition, we messaround with the audio in an editing pro-gram [mostly Steinberg WaveLab]Berge says. We sample vinyl, CD,field recordings, or we just recordthings onto tapes, send them throughour gear, and re-record it again.The not-so-secret sample: HappyUp Here has a sample fromParliaments track, Do That Stuff. Vinyl noise: Were suckers for thevinyl sound, Berge says. Theres nohiding that, and we dont try to. If any-thing, we deliberately try to make itsound more vinyl-y by adding a cracklesound and ground sound, which youcan hear toward at the end of SilverCruiser. Theres lots of humming andhissing, and thats all put in there delib-erately to create the vinyl feel.

Proven Improvement Find out why the planetstop musicians and audiophiles all over the worldmake Analysis Plus cables part of their system, visitwww.analysis-plus.com

a level of sonicreproduction I never

thought I could achieve.

Joshua Fineberg, PhDComposer of contemporary

classical music and a Professorof Music at Harvard

330 6 . 2 0 0 9 K E Y B O A R D

26

21

16

11

6

1

4444

= 60

HEROAS PERFORMED AT THE NEIGHBORHOOD BALLby Mariah Carey and Walter Afanasiefftranscribed by Eric Daniels

To go backstage at the Inauguration performance of Hero, readour cover feature on page 20. For more on the keyboards behind

the Inauguration, flip to page 72 and visit keyboardmag.com.

Hero, words and music by Walter Afanasieff and Mariah Carey. 1993 WB MUSIC CORP., WALLYWORLD MUSIC, SONGS OF UNIVERSAL, INC. and RYE SONGS. All Rights for WALLYWORLD MUSIC Administered by WB MUSIC CORP. All Rights for RYE SONGS Administered by SONGS OF UNIVERSAL, INC.

Used by Permission of ALFRED PUBLISHING CO., INC. All Rights Reserved. Reprinted by Permission of Hal Leonard Corporation.

34 K E Y B O A R D 0 6 . 2 0 0 9

PLAY IT ! POP

61

56

51

46

41

36

31

ritard.

350 6 . 2 0 0 9 K E Y B O A R D

PLAY IT !

PLAY IT ! ROCK

Ex. 1. On the recording, the intro figure is split between one synth soundpanned to the right speaker, and a guitar (or guitar-like synth patch) in theleft speaker. In their live performances, MGMT plays this part on guitar, but italso lends itself well to the keyboard. Place your left hand on the keyboard asillustrated in Ex. 1a, and youll be in the correct D major finger position. Theriff is played by alternating finger 5 with fingers 1, 2, and 3, as shown in 1b.Note the F# in the key signature of D major.

Ex. 2. The right-hand synth melody that follows is based on the same handposition in A major; see 2a. The line descends from finger 5 on E down to A(dont forget the C# in the key signature of D major). Note that after you getto A, finger 5 reaches up to the F# (see Ex. 2b for the traditional notation).

21 543

25 13

Middle C =

by Tom Brislin

MGMTS TIME TO PRETEND

44 5 1 5 5 2 3 5 5 2 1 5 5 2 3 5 5 2 3

1. 2.

44 5 5 4 3 2 1 5 5

Emerging from a sea of bubblinganalog synth textures, MGMTs Time ToPretend is a pop voyage. Textures andmelodies float above an undeniablegroove, guiding the track from section tosection and adding flavor throughout.Here, well look at the songs intro and

its signature synth riff.For both sections, the parts are easily

played when you nail the correct handpositions. In other words, if you place eachhand over the proper group of five consec-utive notes, the parts practically play them-selves. Well play the intro with the left

hand and the riff with the right hand. Youdont have to play them simultaneously atfirst, but once youve got them in your fin-gers, test your coordination!

Learn how to reproduce MGMTs Time To Pretendsynth sound on page 40.

Hear this lesson with audio examplesat keyboardmag.com/play.

Time To Pretend, written by: Andrew VanWyngardenand Benjamin Goldwasser. Sadguitarius Music andOld Man Future. All Rights for Sadguitarius and OldMan Future Controlled and Administered by Third SpiritMusic (SESAC). International Copyright Secured. AllRights Reserved. Used by Permission.

a)

b)

a)

b)

36 K E Y B O A R D 0 6 . 2 0 0 9

Also known as tone clusters, clusterchords usually consist of at least three con-secutive tones in a scale, played simultane-ously. Some of the early proponents ofcluster chords were composers HenryCowell, Charles Ives, Bela Bartok, and

Karlheinz Stockhausen. Jazz musiciansknown for their use of clusters include rag-time pianists Jelly Roll Morton and ScottJoplin and more recent players like Thelo-nious Monk, Horace Silver, Cecil Taylor,Herbie Hancock, and Chick Corea.

While some cluster chords are meantto be dissonant and disturbing, others areof consonant construction, and quite soni-cally pleasing. Here are some ideas toget you started on the road to thicker,richer chords.

PLAY IT ! JA Z Z

Em7 5a) b) c)

Gm maj7

A7 9A7sus4

1

4444

A 7sus4 B dim/F A dim/F A m7/F B dim/F A dim/F A m7/F

5

D /F D7alt A 7add11 Cm11

Cm7 A7 9a) b) c)

Ex. 2. Heres a cluster derived from the A Mixolydian mode. Notice the scale cluster in the left hand, and the major triad in the right hand. This is also an excellent struc-ture to move around in parallel as a means of harmonizing melodies. The two clusters in 2b are derived from the G melodic minor scale, and can be used for the follow-ing chords: Gm(maj7), A7sus4b9, Bbmaj7#5, C7#11, D7b13, Em7b5, and F#7alt. Measure 2c shows a wider cluster for use on A7b9, derived from the A dominantdiminished scale.

Ex. 3. Perhaps one of the most compelling intros ever played by Herbie Hancock is on the classic Wayne Shorter compositionFee-Fi-Fo-Fum from the CD Speak No Evil. Herbie played cluster voicings, but the music presented here adds even morenotes to create richer, thicker voicings.

Ex. 1. This example explores one of the most dissonant and powerful clusters in the chromatic scale. Measure 1a has both the left and right hands playing five con-secutive chromatic scale tones. The first configuration in 1b has a Cm7 chord in the left hand and a Dm7 chord in the right hand; as you can see, playing clusters canget the fingers from both hands intertwined. By playing these two minor-seventh chords together, youre actually playing all the notes of the C Dorian mode. You can usethis as a Cm7 chord, or any of the other chords derived from the Bb major parent scale. The second configuration can be used for the same chords, but the distributionof notes has the clusters isolated in each hand. In 1c, use the left hand to play Gdim7 and the right hand to play Adim7. Putting these two diminished seventh chordstogether yields all the notes of the G diminished scale. The second configuration distributes the notes into two groups of diminished scale clusters. Either way, you canplay these for any of the chords derived from this diminished scale (Gdim7, Bbdim7, Dbdim7, Edim7, A7, C7, Eb7, and Gb7).

CLUSTER CHORDSby Andy LaVerne

Listen to some great cluster chordson Wayne Shorters Speak No Evil(Blue Note) and Charles LloydsForest Flower (Atlantic).

38 K E Y B O A R D 0 6 . 2 0 0 9

New York duo MGMT has struck goldwith their electro anthems Time To Pre-tend and Kids, proving that a hookymelody always wins. Of course, a slickretro synth patch to play it on doesnthurt. To cook up the Time To Pretendlead, well use Way Out WaresTimewARP 2600, which faithfully emu-lates the classic ARP 2600 semi-modularanalog synth. TimewARP 2600 is whatthe highly technical refer to as a prettyhonkin synth it has tons of parametersand routing options. Well use it in astraightforward way, though, so justabout any virtual analog will work. Thepatch itself is only half the secret here there are some key effects well bring inafterwards.

1. This patch only uses one oscillator, setto a sawtooth wave. In TimewARP2600, run a virtual patch cord from thesawtooth jack to the VCO 1 input inthe VCF audio mixer section.

2. Using a lowpass filter (in four-pole or24db-per-octave mode), set the cutoffabout 75 percent open and resonance at 20 percent. The exact cutofffrequency on TimewARP 2600 is2,764Hz.

3. Make the amplitude envelope a simpleon/off type: attack, decay and release atzero and sustain all the way up.

4. On TimewARP 2600, turn up theAudio/VCF slider and Control/ADSRslider in the VCA mixer section, andfinally, turn up the VCA slider all the wayat the right in the Mixer section.

5. Now we have a bland sawtoothpatch. We spice it up by adding vibrato.Most synths call the relevant settingsomething like LFO depth or pitchmod amount. In TimewARP 2600, anyof the three oscillators can be switchedto low-frequency (LF) mode, so I

used oscillator 2 (VCO 2) to generatevibrato.

6. Then, I turned up the VCO 2 slider (theone in the VCO 1 section) to modulateVCO 1s frequency. Use a sine or trian-gle wave set to about 7.3Hz with depthset pretty deep.

Now well add some plug-in effects in theDAW. I used a subtle amount of LogicsBitcrusher to make the tone a little more inyour face. Then I added EQ with a steeplow shelf rolloff from 440Hz down, an 8dBpeak at 1,300Hz to emphasize the nasalhonk, and a high shelf at 6,500Hz todampen highs thatd make things sound toohi-fi otherwise. Finally, I added a mediumamount of large, dark room reverb for sonicspace you can hear a similar one in theintro of the original MGMT track.

Learn to play the key licks from Time To Pretendon page 36.

DO IT ! SOFT SYNTHS

MGMTS TIME TO PRETEND SYNTH LEADby Mitchell Sigman

The original ARP 2600 didnt have oscilla-tor wave selector switches. Instead, eachoscillator had a default waveform thatyou could override by plugging in patchcords. Here Ive patched a sawtooth wavefrom VCO 1 into the filters VCO 1 input.

Go to keyboardmag.com/how-to or celebutantemusic.com/keybmag for this story with audio examples.You can also download the Time To Pretend patch for Way Out Wares TimewARP 2600 soft synth.

1

5

6

23

4

40 K E Y B O A R D 0 6 . 2 0 0 9

1000's

of Produc

ts

Ready to

Ship!

Abe's of Maine Pro Audio & Musical InstrumentsGet all of your gear at Abe's of Maine

All Your Music & Audio Needs In One Place!

1-800-992-2237 - www.abesofmaine.comAbe's of Maine, 5 Fernwood Avenue Edison, NJ 08837

1STOP

Music & Au

dio

SHOP

Order Online or Call to Speak With Our Professional Sales People!

Getting the most bombast from yourbass synths can be a bit of a chore. EQis one way to do it, but the results can beuneven if your bass line covers a range ofmore than one octave. Sub-harmonicenhancement, either via plug-ins or hard-ware, is another way, but it can introducemuddy low-end artifacts if a producerisnt careful.

A few years back, I stumbled upon atrick thats infinitely more precise thaneither of the above approaches, and

Keyboard Magazine 2009-06

Documents

Transcript of Keyboard Magazine 2009-06