Thursday, February 9, 2012

Basics of Rhythm and Time Signatures

As we continue with our beginner guitar lessons, we will now concentrate a bit on one of the most important elements of music: rhythm. This rhythm guitar lesson will focus on how music is counted. When you hear a song you like on the radio, you tap your foot or snap your fingers to the beat. Normally, your toe-tap or finger-snap will fall on an emphasis or a pulse in the rhythm.

Have you ever tried counting along to the beat? You may notice that different songs place the pulse on different beats, or that some songs have a different number of beats in between pulses than others.

That is because different songs often have different “meters.” The meter of a song relates to the number of beats in each measure. For example, a song in “4/4 time” has four beats in each measure, whereas the measures of a song in “3/4 time” each have three beats.

As you learn how to play rhythm guitar, you will see that the vast majority of music in this world is in 4/4 time. Musicians pronounce it “four four,” or they might call it “common time,” and it is written like this:

Or, occasionally like this:

The “4” on the top, as we have seen, tells you how many beats are in each measure, while the “4” on the bottom tells you that each beat is a quarter note. Therefore, each measure of this song has four quarter-notes in it, like this:

Now, if you know your math, you will know that four quarters is equal to two halves, and that two halves is equal to one whole. The same is true in music:

In our beginner guitar lessons, we will see that the same concept applies to songs in 3/4, or “three four,” time, except that the divisions aren’t quite as neat and tidy when you start using half-notes. That’s because there are three quarter-notes per measure, so there can only be one half-note along with the equivalent of a quarter-note per measure:

Even if you plan to be the next Jimi Hendrix, you will need to know how to play rhythm guitar. That is because, in order to be an effective lead guitarist, you must know how to follow a rhythm. So, every lesson will, in some sense, be a rhythm guitar lesson.

Here are some examples of other time signatures. The ones at the top are more common than the ones below.

These last two meters, 5/4 and 7/4 time, are a bit more difficult to count and are used far less often than the others, but you will see them again during your musical career outside of these online guitar lessons. Occasionally, some Asian or Eastern European music will have much more complex meters with eleven or even thirteen beats per measure. Some jazz artists who know very well how to play rhythm guitar in complex meters, will venture into elaborate rhythms, like this, but these meters are very rare in western music, and so we will not be dealing with them during our beginner guitar lessons

Simple Rhythms

Now, let’s continue our rhythm guitar lesson by discussing how these beats are counted.

When we’re looking at a measure of four quarter-notes, we count those beats simply as “1, 2, 3, 4.” Each of those counts falls directly on the beats they are counting:

But if we have two half-notes in each measure of 4/4, we count them like this:

That is, we count only the beats that the notes fall on, while keeping track of the silent notes. So we count whole-notes like this:

If we mix quarter and half-notes, it will count something like this:

Simple, isn’t it? If the rhythms in these beginner guitar lessons were as complex as rhythm got, music would be very easy to play. And very boring. Fortunately for us, music gets much more interesting than this, which you will see as you learn how to play rhythm guitar. Those quarter-notes we just looked at divide into eighth-notes, which divide again into sixteenth-notes, then thirty-second and then sixty-fourth-notes.

It sounds complicated, and it certainly can be, but, for this part of our rhythm guitar lesson, we will concentrate only on the eighth-notes.

Now, if a measure has four quarter-notes in it, can you guess how many eighth-notes it will have? If you said eight, you’re right, and they look like this:

So now you’re wondering how these are counted. It’s simple. Just add “and” in between each number. Like this:

It starts to get tricky when we mix the eight-notes with quarter-notes and half-notes:

It’s very important during beginner guitar lessons to learn how to read rhythm, because even if you decide that you will only play chord charts or tablature, it is very likely that you will see rhythm notation applied to those same chord charts and tablature. Even the mostbasic guitar chords can still be played against very complex rhythms.

Here is an example of the type of thing you might encounter:

For this introductory rhythm guitar lesson, this is going to be the most complex rhythm we will look at. In future lessons, however, as you get more familiar with how to play rhythm guitar, we will get more in-depth.

Wednesday, June 8, 2011

Steinberg HALion VSTi Sampler



a software 32bit HALion sampler which is a VST instrument, or simply VSTi.

VSTi is a software sound synthesizer which generates sound on the fly on a MIDI track and has a separate audio-out (or several outputs) in a sequencer for setting different effects. The VSTi in ASIO-oriented applications has its analog - the DXi technology in DirectX applications.

Today musicians who widely use VST instruments go with the Cubase and Nuendo sequencers. The HALion sampler can be used in any of the two applications.

The HALion supports samples of different formats, which makes it universal and convenient in operation. Thus, it supports PCM wav files up to 24/96, sample banks for VST instruments LM-4, LM-9 (with headings in txt), the drumloop format Propellerhead ReCycle (REX, REX2) and Steinberg sequencers' presets formats (fxp, fxb). The sampler can also read and convert such widespread and irreplaceable formats as GIG and AKAI. It's important that the HALion imports them correctly with all the information on samples provided. Moreover, for owners of collections of SoundFont banks it supports sf2 importing.

From the practical standpoint I consider importing of GIG and AKAI samples the most important feature (no secret that exactly these formats contain highest-quality samples). The HALion is thus a normal VST instrument which can play GIG and AKAI samples. But what about the software Gigastudio sampler?

First of all, the Gigastudio is inferior in the ease of use. For example, samples can be edited only in a separate program. Although a set of effects is not scanty, it's quite a problem to stick effects of the sequencer to each MIDI channel separately. But tastes differ. A bit later we will dwell upon conveniences of the HALion.

Now let me attract you attention to the new niceties in the latest version of the HALion 1.11:




* optimization for PentiumIII, PentiumIV, Athlon;
* correct importing of samples of the REX2 format;
* simultaneous loading of several FXP files;
* several degrees of resampling quality (Fast/Good/Best);
* when samples of other formats are imported the LFO information remains;
* various slight corrections and new improvements are made.

So, let's kick off with the edit option of the VSTi instrument: choose it and the main window of the HALion sampler will open.



HALion sampler, Macro tab

This is the main view of the sampler named Macro. It contains the main adjustable parameters of the samples loaded into the HALion. The sampler has nothing by default, and this screenshot and the windows of settings shows No Sample.

The keyboard has 10.5 octaves. The keys can be adjusted in size. On the left under the window showing the sample you've loaded there are regulators for parameters of the filter and its envelope. The filter has 4 standard configurations. Slope of all the filters makes 12 dB per octave and for the low-frequency filter it is 24 dB per octave.

To the right you can find controllers of the waveform and its envelope. In the right-hand corner below you can adjust a pitch of tone of the sample.

All settings located in the Macro tab are common for a selected instrument. But quite often an instrument combines multiple samples which are to be adjusted separately. It's also possible here, but it will be spoken about later.

The next tab is Chan/Prog. It deals with loaded samples of various instruments, shows MIDI channels and an output of the used sequencer they belong to. You can use up to 16 programs (instruments) simultaneously, but there are only 8 channels in the sequencer which can be assigned separately (they are shown in the drop-down menu).



HALion sampler, Change/Program tab

It means that the HALion has only 8 independent outputs you can use to hang the sequencer's effect on. Four of them are only mono. But if it's not enough you can use one more HALion. It will be set as HALion2, and the Cubase SX supports up to 32 VST instruments simultaneously (Cubase 5.1 offers 8 instruments). However, modern computers will hardly cope with more than three HALions. But it's not needed in real tasks.

The next tab is Keyzone, one of the pictorial sample editors. Here you can see a contrabass opened.



HALion sampler, Keyzone tab

The instrument possesses several samples. It's very convenient to change parameters of any of them: from the Velocity level (vertical scale from 0 to 127) to adjustment of transitions from one sample to another when they overlap (fade, pitch).

The Waveloope tab shows the same samples in different light, where you can also graphically edit a selected sample.



HALion sampler, Waveloop view

The screenshot shows the same contrabass's sample. The editable parameters are standard: beginning and end of playback, fade in and fade out.

The next tab is called Env/Filter.



HALion sampler, Envelope/Filter view

It makes possible to adjust certain parameters of each (!) sample separately. There are 4 standard filter types, like on the Macro tab, its envelope, sample's envelope and its main parameters.

The next tab called Mod/Tune provides more regulators both for separate samples and for the whole instrument.



HALion sampler, Modulation/Tune tab

This page is divided into two parts. The left one - Modulation - consists of three columns: Destination (where you can set an adjustable parameter), Amount (level) and Source. The right part, LFO, contains parameters similar to the Macro tab. The only difference is that you can edit both the whole instrument and a separate sample.

The last tab is Options which houses several global settings.



HALion sample, Options tab

The Import Options item seems to be the most interesting here as it allows importing various compatible formats of samples. Click on the Import ext.Format and then Select a Device, and you will be carried into a small window. Here you can set one of four formats of imported samples.



HALion sampler, Options view, import of samples from the CD in the AKAI format

Insert a CD in the AKAI format into the CD drive and the sampler will detect and suggest importing any instrument (remember that AKAI discs have a file system incompatible with the Win32). Select the respective item and you will get into a very good sample browser where you can choose a sample or the whole partition to import into any folder which can be located in any place on the hard drive.

It works the same way for audio files. You can previously listen them as well.



HALion sampler, Options view, importing of wave files

In the Options tab you can set time and RAM size for preliminary loading of samples depending on power of your computer.
Impressions

Beside a higher level of music composing the HALion sampler makes this procedure much simpler. If earlier the only thought that I had to use the Gigastudio (because of higher-quality samples) depressed me, now we can forget about it.

At first it seems a little awkward to work with the HALion. But a couple of hours later (hè÷eão ÷to tyt ÿ hemhoão ïpeymehüøèëa?:) you get used to it. We suggest that you listen to the composition we wrote using two HALion samplers loaded into the Cubase SX.

Flute Drawing 192 Kbit/s, 16 bit, 44100 kHz, stereo, 3.6 Mbyte.

We used the Cubase SX sequencer as we consider it the most powerful application for today. Ready loops weren't involved; everything was done manually with a mouse and a MIDI keyboard including the part of drums.
Conclusion

The HALion lets us create compositions of fine quality saving our precious time and releasing us from problems of compatibility of the Cubase and its VST plugins and the Gigastudio which needs a separate GSIF compatible device. Working with samples is not so boring and difficult any more. The design of the sampler is user-friendly and comprehensible and doesn't complicate our work at all. The HALion sampler might not meet all the requirements, but compared to its competitors this program is tenfold ahead.

If you compose music but haven't used this godsend before, I recommend you try it. And remember that it's better to start with reading the manual. The HALion is not the thing that can be mastered using the try-and-error method.

Finally, high-quality sound won't do wonder alone; your precious creative ideas are the diamond to be faceted.

Friday, September 24, 2010

Basic Music Theory

Basic Music Theory

B M T

http://www.scribd.com/full/38108585?access_key=key-1ufdkhv60dg6f1km3h45

Thursday, April 8, 2010

Addictive Drum (VSTi)


VSTi Drum ေတြထဲမွာေတာ Power အေကာင္းဆံုးလို႕ထင္ပါတယ္။ ကမာၻ အေပာင္းဆံုးဆိုတဲ့ Sonor Designer / DW Collectors / Tama Starclassic ေတြရဲ႕ Colour နဲ႕ပါ။ စိတ္ဝင္စားရင္ ဒီေနရာမွာၾကည့္ ႏိုင္ပါတယ္။

Wednesday, April 7, 2010

The HakenAudio Continuum (fretless instrument)

Performing on the Continuum Fingerboard is challenging. Like a fretless instrument, you must rely on audio feedback, finger memory and manual dexterity for accurate intonation and expression. You will find that the Continuum Fingerboard requires its own technique, different from any other instrument.

When you play a traditional music keyboard, it is normal to feel the key hit a hard stop as you play a note, even if you are playing quietly. Also, traditional keyboards are usually velocity sensitive. On an instrument like a piano, a single velocity value is transmitted from the speed of the key movement.


In contrast, the Continuum Fingerboard is both velocity sensitive and, more importantly, pressure sensitive. It initially outputs a single velocity level then continually outputs a stream of pressure values. These pressure values continue as pressure changes until the note isterminated. It is unusual to hit the hard stop (or "bottom out") except for the very loudest notes. This distance from zero pressure to maximum pressure is small, yet offers an extremely wide range of dynamic possibilities. The lighter the touch you master on the Continuum Fingerboard, the greater the expressive possibilities it will offer you. This is a very important thing to emember. Even if you have a refined keyboard technique on a piano or synthesizer you will still need to develop new playing skills to master the Continuum Fingerboard.

တီးခတ္ပံုကိုဒီမွာၾကည့္႐ႈႏိုင္ပါတယ္။
Don't assume that the Continuum Fingerboard will respond like a pressure sensitive drum pad. The Continuum Fingerboard playing surface has been designed for a finger technique. The human hand is an extremely sensitive input/output device. Thanks to the ContinuumFingerboard's design the performer is free from the greater mechanical forces that are required to actuate a note on an acoustic keyboard instrument like a piano or harpsichord. As such, the mechanical feedback devices inside the Continuum Fingerboard are designed to take advantage of the lighter pressures that a human hand can easily and quickly generate. Keep this in mind as you play your Continuum Fingerboard. You'll be rewarded with a decidedly musical response to your subtle and dynamic playing gestures. A lighter touch will also minimize heat buildup on the fingertips that can be caused by overly aggressive contact with the silk-screened patterns on the surface.


Vocal Designer on your Finger

Vocal Designer

Example 1

Example 2
Example 3

Example 4