Chord "Deux" Jour Challenge: Bbm and Db

The Chord "Deux" Jour Challenge means learning or expanding upon two chords per day for 49 days. Check out the full list here.

Each chord map will hopefully appeal to guitarists and keyboardists of all skill levels. Simple chord shapes for novice guitarists are provided with the following finger system:

1 index finger
2 middle finger
3 ring finger
4 little finger
o play open string
x do not play open string
( bar one finger over more than one string
T that rare occasion that I recommend you use your thumb to fret a note (which probably won't show up during the Challenge)

Today's chords are B-flat minor (Bbm) and D-flat major (Db):

At the beginning of the month, I took four days off from this blog to finish my guitar-and-choir version of Handel's "Hallelujah!" Chorus for the holiday season. Here is a sample that I posted on Instagram:

Part 2 of 2: Trying to imitate Brian May has become an annual #holiday tradition. #audio #teaser #hallelujah #hallelujahchorus #handel #handelsmessiah #christmas #merrychristmas #music #christmasmusic #holidaysingle #albumcover #me #guitar #guitararmy #fakebass #fakedrums #faketoms #fakechoir #vocals #leopardprint #drumsticks #microphone #guitarpick #librivox #ryanderamosvsthehallelujahchorus

A video posted by Ryan DeRamos (@ryan_deramos) on Dec 12, 2014 at 5:40pm PST

As photographed above, I used one dynamic mic (many times over), one guitar (also rigged for bass on the low E string), and two drumsticks (hitting electronic drum pads) to record this song. Anyhow, we'll have two more chords tomorrow. Cheers!

Bb Chord (Guitar) + Jam Session 112h

The Chord of the Day is Bb major for the guitar, on the 6th fret:

Chords for Jam Session 112h:  F C G Bb F C G



Jam Session Notes:  Check out the original show notes here.

Jam Session Serving Suggestions:  If you're recording on a computer, make sure you have lots of hard drive space (preferably a dedicated, non-system drive), lots of RAM, fast processor(s)/(cores), a stable operating system, (mostly) bug-free recording software, and a compatible hardware interface (USB or FireWire or fancy card[s] you have to install).  Unless it is built to your custom specifications, you don't want to trust your computer's default sound card.




Tweet to us @DeRamosMusic!

Podcast Subscribers: If these jam session notes look jumbled, please visit http://www.chorddujour.com - Thanks!

The XLR Connector

While there is some risk in degrees of accuracy, Wikipedia can explain XLR connectors better than me. Hint: The XLR is the usual cable for microphones. Another hint: Many XLR cables have a male plug on one side, while the other side is a female jack; many TRS cables have male connectors on both ends. Read more about the analogy between connector gender and zoological anatomy.

The TRS Connector

While there is some risk in degrees of accuracy, Wikipedia can explain TRS connectors better than me. Hint: Larger guitar cables have this in common with the usually-smaller headphone cables. Another hint: While the black rings often tell you whether a given cable is mono (one black ring), stereo (two black rings), stereo + video (three rings), or stereo + power (three rings), the rings are merely insulation to separate the important metal contacts that actually do the dirty work. Just hope that the work a TRS connector cable does is not so dirty as it is crystal clear quality.

Example Digital Audio Production Workflow

There's always room for jamming with other musicians anytime during this process. It might not contribute directly to the process, but it's fun and all parties will learn a lot from the synergy. This isn't the only process (feel free to add or subtract or repeat steps, according to your own process).

1. Songwriting. An instrument and a notebook would be helpful. A mini tape recorder/digital recorder to demo ideas might be helpful. The end product is basically lots of music with or without lyrics.

2. Arranging. This is where you try to make sense of the raw materials of music and lyrics, and put it in a nice little consumable package. You also decide which instruments will fit for the upcoming production.

3. Recording. Track drums, bass, guitars, keyboards, vocals, strings, brass, percussion, etc., according your arrangment. You can assemble an relatively large ensemble to perform live, with minimal overdubs, or you/a small band can build a song a few instruments at a time. If you are going to edit and mix later, you need to record multitrack - each instrument has its own input(s) or microphone(s).

4. Auditioning. Choose the good takes, and discard the bad takes. Punch in to quickly overdub fixes for decent takes.

5. Editing. This is where digital audio workstation recording begins to differ from traditional recording. You can easily compile the good parts of so-so takes to make a pretty spotless takes. Use this sparingly, as slight imperfections is human, and your human audience will better connect with emotional, human performances. Total perfection might lose the emotionality that makes a good recording.

6. Mixing. All the instruments that past muster must coexist. Make sure all that needs to be heard/felt is heard/felt.

7. Repeat the above steps for additional songs, if you are going to release more than a single, like an EP or a full-length album.

8. Mastering. Add that extra sheen to your track(s), make sure has the right dynamics (hopefully without playing into the loudness war), and have all your tracks (if more than one) work together as a collection - in sequence, and in equalization tonality.

9. Release to the world! You have your choice of media, from vinyl to CDs to MP3s and myriad ways to get your sonic creation to the ears (and hearts and minds) of as many people as possible! Cheers!

10. Repeat the process...

Considerations for an Optimal Pro Tools Computer

Pro Tools, whether HD, LE, or M-Powered, requires Digidesign-approved hardware for your sound card use with the DAW software. This is either an advantage (compatibility between software and interface) or a disadvantage (proprietary technology and limited variety), depending on your point of view. In any case, you do not need to worry about the soundcard that comes with your computer (or potential computer, if you're looking to set up a new system) when running Pro Tools. Since Pro Tools is for audio production, you don't really have to consider video cards when setting up a computer; that's more for video editors and graphic designers.

Anyhow, please consider the following when setting up a optimal Pro Tools system:

1. Stability. The computer's hardware should work as smoothly as possible with the computer's operating system. A Mac (by Apple) running OS X (by Apple) is less of crapshoot than a Mac running Microsoft Windows or another PC make/model running Windows (or a PC running OS X as a Hackintosh). However, there are PC manufacturers that make quality hardware to make Windows more stable. In any case, as a rule of thumb, you get what you pay for (unless you buy a lemon). Pro Tools runs on both OS X and Windows (32-bit only, currently), so open source (Linux) and other proprietary operating systems are not part of this Pro Tools discussion.

2. Compatibility. If the above computer is stable, make sure that the Pro Tools software is compatible with the hardware and operating system combination. When Apple released OS X Leopard early in 2008, Pro Tools 7.4 (and earlier) wasn't compatible with the updated operating system. Pro Tools 7.4 was eventually updated for OS X Leopard users. Pro Tools 8 is compatible with Windows XP SP 3, with unstable results for earlier Service Packs. In any case, consult with Digidesign's requirements and the DUC forums for compatibility requirements on the Pro Tools end of things, and your PC manufacturer (myriad companies) and OS developer (Apple or Microsoft) for the rest of the compatibility equation.

3. RAM. Get as much as your hardware and operating system will allow. 32-bit operating systems can only use up to 4 GB of RAM, so Pro Tools uses the RAM that is not used by the operating system and background applications. Multi-core, workstation-class computers like the Mac Pro can handle up to 32 GB of RAM, but the current version of Pro Tools is 32-bit in nature and can only use up to 4 GB of RAM.

4. Processing power. Get as many processors and cores, fast processors, and efficient processors as your budget and current technology will allow. LE and M-Powered systems will be more dependent on the computer's processor(s) than HD systems, which use DSP cards to handle most of the processing. If you're going to use a lot of RTAS plug-ins in Pro Tools, be sure to use a computer with fast processor(s) and several cores in each processor chip, if possible.

Get out there and tweak and/or upgrade your existing personal computer for Pro Tools, whether non-SSD netbook, notebook, desktop, or workstation. Or buy a new computer with these optimizations in mind. In any case, Pro Tools is powerful production software that deserves similar power on the host computer. It'll make the creative process that much more effective!

Pro Tools 8

Back in late December, I was one of the first of the general public to download Pro Tools M-Powered 8.0 for Windows XP. Here's a quick rundown on its functionality (you may have to figure out your own issues if you have a different PT build [LE or HD], operating system [Vista 32 or OS X Leopard], and/or recording interface [Digidesign or M-Audio; PCIe, Firewire, or USB):

Pros: Xpand2 has better sounding samples (subjectively, of course) and more options. Boom is a cool new virtual instrument (an emulated "analog" drum machine). The other AIR effects are cool, getting Maxim to use without an iLok license is cool too, and the "teaser" plugins (the emulated guitar amp) are sufficient to get creative. FXpansion's wrapper still works in PT8 (so far), so that many VST and VSTi plugins are still there for production use.

Cons: There was confusion about Mooger-Fooger effects not having the correct license, but a quick trip to DUC and some savvy will help you reinstall the PT7 version of the plugin - then you'll be good to go. I had to upgrade my operating system from XP SP2 to XP SP3, which provided some tricky problems with my M-Audio PMIO and that specific interface's issues with SP3. If you're a PTMP user, go to M-Audio's forums for some help for the hardware side of things.

You might have your own issues when it comes to PT8 and your specific OS and hardware interface. PT8 rewards those working with lots of RAM and lots of processor power, so keep that in mind. Firewire technology often has better bandwidth capabilities than USB, so keep that in mind when choosing interfaces and external hard disk drives.

Downloading the entire upgrade (4 GB, including extras that I haven't gotten around to using yet) took me several chunks of time over a few days. The upgrade DVD costs around $30.

The added options in PT8 are great for PT7 veterans who want more, but all the various non-default intricacies might not be as friendly for newbies.

Bottom line: If you have self-confidence, savvy, and most of all - patience - PT8 is a good upgrade. On the other hand, a less frustrating PT8.1 (or even a PT8.0.x) might be around the corner for those who want to keep productive with PT7.4 and not deal with upgrade issues.

Pro Tools 8 (Recording)

Earlier this month, Digidesign announced the upcoming release of the next version of Pro Tools: Pro Tools 8. This new Pro Tools has a modified interface, comes with new plug-ins and virtual instruments, and expands upon the upgrades from Pro Tools 7.4.

Whether or not this new Pro Tools works with your specific third party (non-Digidesign) plug-ins remains to be seen. You might have a free upgrade from the developer, or you might have to buy an upgrade (if/when available). In any case, you might want to hold on to the installation program for Pro Tools 7.4, just in case.

Pro Tools 8 will be released in three formats: HD, LE, and M-Powered. If you buy a $150 upgrade/license for Pro Tools 7.4 right now from Digidesign, you'll receive a free upgrade/license for Pro Tools 8.

Remix Radiohead's "Reckoner" (Recording)

The band Radiohead has released a six-track EP for their song "Reckoner" on iTunes , consisting of a lead vocal semi-mix, backing vocals semi-mix, guitars semi-mix, bass track, drums track, and a piano/strings semi-mix. This provides you, the budding music producer, a chance to remix the song - add effects, change the pace, record new parts, rearrange the song, etc., to your heart's content. When you are finished with the mix, the band invites you to post your remix at RadioheadRemix.com by October 23rd.

According to the band, here's some helpful song info: "BPM is 103.4, Time Signature is 4/4 and we would tell you the key, but it keeps changing. The first chord is C." This might help you if you're adding loops or programming sounds in your remixing/DAW program.

The EP costs about $1.

Get a 25 Key MIDI Controller (Keyboard, Recording)

Owning both a laptop and a desktop computer is beneficial if you travel a lot, but still need the benefit of having a beast of a system at home. (Which one do you bring on the road?) Similarly, owning both a "studio-sized" keyboard/MIDI controller and a 25 Key MIDI controller will be useful.

So let's talk about the smaller one. If you already have a mid- to full-sized keyboard in your home/work studio, you needn't spend more than about $100 on your portable keyboard. You also probably won't need semi-weighted keys, unless you're really picky. It's just a good idea to have a travel songwriting studio because ideas don't care about geography. A company like M-Audio manufactures MIDI controllers, but be sure to do some research on the best prices and most reliability for the price. And be sure to look for coupon codes (remember the state of the U.S. economy these days...).

So, when you're on the road, living off hotel rooms, remember to bring that laptop and MIDI controller, loaded with similar software as your home system. Happy traveling, songwriting, and demo recording!

Loudness War (Recording)

Sometime during the late 1990s, I found that my CDs of circa pre-1996 albums were drastically quieter than the newer CDs I bought. This phenomenon still plagues me to this day, as I have to constantly shift the volume when I listen to my ripped mp3 collection when they are shuffled on iTunes. (I am lazy to tell iTunes to normalize the levels in my collection.)

Long story short, the record industry created a culture of louder + more compression = better, and so they mastered most mainstream CDs to be loud to the point of clipping (the uncool kind of distortion). The richness of loud-soft dynamics is usually lost when compressor effects are used heavily. Here's an interesting YouTube video that boils down the situation:

For more information, do a Google search on the loudness war or read the Wikipedia article (for starters). When you are recording, try to make things dynamic and give your tracks some headroom. When you get to the mastering process, that's when you have to choose sides in the loudness war.

Happy recording!

Melodyne as Mirror (Vocal, Intermediate, Recording)

A lot has been said about vocal tuning programs and plug-ins, such as Autotune and Melodyne. (Melodyne is good for more than just vocal manipulation, by the way.) While an effect like Melodyne can "fix" less-than-perfect performances, it can also be used as an objective vocal coach, or sorts. Here's how (you'll have to be comfortable with DAW recording):

1. With a well-tuned musical instrument, record the "standard" arpeggio vocal exercise: C root-E-G-C octave-G-E-C root; C# root-F-G#-C# octave-G#-E-C# root; D root-F#-A-D octave-A-F#-D root; etc. You know: Do-mi-so-do!-mi-so-do (I think...).

2. Track your vocal to follow the exercise.

3. Run the Melodyne Plugin to analyze your notes.

4. See how reasonably close you are as far as pitch matching and the strength of your vocal range. If you are familiar with the Melodyne interface, you'll know how easy it is to spot where your notes are on the scale - flat/sharp, in between notes, or relatively spot-on.

5. If there are problems, don't fix them in Melodyne! That's not the point of this exercise! Practice more (but don't blow out your vocal cords), learn to breathe better (yoga, anyone?), look up some decent vocal tips online, and/or pay for one-on-one lessons with a vocal coach.

Happy singing, happy recording...be happy! (Okay, be intense when the situation calls for it.)

Essential Pro Tools Add-ons and Plug-ins (Recording)

This entry is basically a review of various essential Pro Tools entries from the past couple of weeks. For the time being, the following plug-ins (and one supplemental add-on program) will make your Pro Tools program the most amount of flexibility on a budget (relatively speaking):

Virtual Instruments, or audio Illustrator
Strike instead of drum loops;
VST to RTAS Adapter to use free VSTi plug-ins, downloaded from the Web;
Xpand! as a sampler of sampled sounds.

Postproduction, or audio Photoshop
Melodyne Plugin to quickly fix pitch/tempo issues, or to explore the technology;
Repli-Q to mimic the tone of other recordings;
SoundSoap 2 or SoundSoap Pro to clean up noisy recordings.

Keep in mind the Audio Suite and RTAS plug-ins that come with Pro Tools by default are also useful - the EQs, the limiters, the delays, etc. We'll get into those already paid-for effects in future entries.

The only thing truly missing is the human element, and that's where you come in (and possibly some nifty guitars, amps, and mics, too). The above list will give you that audio Photoshop advantage for about a thousand dollars (not counting the price of the initial Pro Tools DAW), and they are all RTAS (or RTAS-dependent) add-ons. When you spend the big bucks on a TDM-based Pro Tools HD system, you'll get more than the above effects.

Happy recording!

Digidesign Xpand! (Keyboard, Recording)

The Digidesign Xpand! virtual instrument falls somewhere between an essential Pro Tools plug-in and a default, yet very useful Pro Tools plug-in. Let me explain: Xpand! comes with the installation CDs to Pro Tools 7.3 and later, but Xpand! might or might not come with Pro Tools 7.1, and definitely not with any earlier build of the DAW. In any case, Xpand! comes with a myriad default sounds and virtual instruments, with several options to modify them to your taste (and beyond). You can assign up to four different instruments per plug-in track (stereo or mono), and you can assign those instruments as overlapping or discrete regions on your keyboard to save RAM, CPU, and track usage (e.g., piano from C1 to B2, glockenspiel from C3 to C6, strings from A3 to G#5, etc., depending on your song's needs).

With that many sounds, you actually get to audition exactly what you want for a song, or something similar. From there, you can either buy a better virtual instrument plug-in or go on the Internet and download a free VSTi (VST instrument) if you have the FXpansion adapter. I recommend the latter route, as it saves money and time.

If your version of Pro Tools contains Xpand! by default, don't squander the opportunity to use it. If you don't have Xpand!, order a "free" copy from Digidesign - you will have to pay about $10 for shipping and handling, though. Xpand!, like Strike, is only for use in Pro Tools. A MIDI keyboard controller would be helpful to use with Xpand!, but you can always draw your notes in Pro Tools.

Tickle them pseudo-ivories and have fun recording!

BIAS SoundSoap (Recording)

I'd have to say that BIAS SoundSoap 2 and BIAS SoundSoap Pro aren't the most essential of "essential Pro Tools" plug-ins. Why? If you record with low signal-to-noise ratio equipment and in finely tuned recording rooms, then you might not need to use the SoundSoap plug-in. However, if your recordings suffer from background noise or 60-cycle hum (due to single coil pickups or faulty electrical wiring), a SoundSoap product can probably save the day.

SoundSoap 2 can be used as a standalone program, so you can "clean"/restore your masters (or scratchy vinyl transfers or hissy cassette tape digitizing) with ease but with less options than SoundSoap Pro. SoundSoap 2 can also be used as a VST or RTAS plug-in for your DAW.

SoundSoap Pro cannot be used as a standalone program, but needs a DAW to host its VST or RTAS plug-in capabilities. On the other hand, SoundSoap Pro is a much stronger program than its budget-minded counterpart.

Speaking of price, SoundSoap 2 costs between $80 and $100 from most retailers, and SoundSoap Pro usually runs around $500. HOWEVER, here's a little tip for those who want to get their feet wet in audio restoration and save money as they progress:

1. Buy SoundSoap 2.
2. Make sure you register with BIAS (you have to, anyway) and receive their periodic newsletters.
3. There is a chance that BIAS will send you an offer to upgrade to SoundSoap Pro for a couple hundred dollars less (but don't take my word for it!), as well as other BIAS products (like Repli-Q) at deep discounts.

It kind of makes you wonder if BIAS and/or retailers are high-balling you in the first place. In any case, check out the BIAS website for more information about SoundSoap 2 and SoundSoap Pro.

As always, have fun producing great music!

FXpansion VST to RTAS Adapter (Recording)

FXpansion's VST to RTAS Plug-In Wrapper is one of the most essential of essential Pro Tools add-ons. It opens the door for you to use a myriad of free/open source VST plug-ins in Pro Tools. (Just Google it!) Normally, VST plug-ins would not work in Pro Tools, as it uses proprietary RTAS technology instead. The adapter wraps most VST plug-ins so that Pro Tools will accept it for RTAS use.

Be warned, though, that not all free VST plug-ins are coded well enough for use in Pro Tools (you get what you pay for). For every new wrapped VST plug-in you must test it in Pro Tools, especially during the "Bounce to Disk" process. A faulty VST plug-in might cause an RTAS error, crash your session, or worse!

For more information, please go to the FXpansion website. The program usually costs between $100 and $120 (depending on the current conversion from Great Britain pounds to United States dollars). FXPansion also sells a sister program that wraps VST plug-ins as AU plug-ins, for use in Apple's Garage Band and Logic (and other Apple production programs).

Be careful, but have fun recording!

Digidesign Strike (Recording)

If you don't have a drummer with a drum kit at your disposal, Digidesign Strike will, at the very least, replace your drum loops. You can customize the drum performance, drum tuning, and mix - with several style and kit options to help you start. As of this writing, missing options include alternate drum sticks (brushes, rods, etc.) and a more intuitive non-4/4 time signature play. The latter can be remedied by sequencing the patterns yourself, with some knowledge about time signatures and accents.

This is Digidesign's introduction/advertisement video for Strike:

"Niiice."

Strike is an RTAS plug-in and will only work with Pro Tools (Academic, M, LE, or HD). Strike costs between $250-$300, depending where you buy. If you buy online, always remember to do a quick Google search of coupon codes to save money! Along with Bias Repli-Q, consider Strike an "essential" non-standard Pro Tools add-on/plug-in!

ASCAP or BMI (Recording)

There are several conspiracy theories why you should/shouldn't affiliate with a performing rights organization (PRO), and whether ASCAP, BMI, SESAC, or some other PRO is the choice to go. We're not doing that here. At Chord du Jour, we suggest that if you want some support from the establishment (i.e., royalties from broadcast and various other public performances of your work), you might want to consider affiliating as a songwriter and/or a publishing company. (Please keep in mind this post is just base knowledge and should not be taken as legal advice. Read the book mentioned in yesterday's post for better information.)

To be clear, an ASCAP-affiliated publisher can only publish songs by ASCAP-affiliated songwriters, BMI publishers for BMI songwriters, etc. - BUT - ASCAP and BMI songwriters can collaborate, as long as their respective publishers are also involved.

Typically, songwriters who perform their own work should self-publish and share publishing only when it makes business sense to do so. Publishers that act like middlemen are more useful for connecting songs/songwriters with outside recording artists (like pop stars who don't write - what an understatement!) and other outside interests. If you make good business choices in addition to tasteful artistic choices, you stand a chance at getting those royalties from your PRO! (No promises, though.)

Here are the current (as of July 2008) fees to apply:

ASCAP songwriter: $25 (used to be free about a year ago)
ASCAP publisher: $25 (used to be free about a year ago)

BMI songwriter: Free?
BMI publisher: $150 for sole proprietorships; $250 for corporations/limited liability companies

ASCAP and BMI focus on U.S.-based music, as other countries/regions have their own prominent PROs.

All You Need to Know about the Music Business (Recording)

If you are serious about pursuing a career as a touring musician and/or a recording artist, All You Need To Know About the Music Business: 6th Edition by Donald S. Passman will be an invaluable resource. For those who have already gotten their feet wet as a public musician, this book will tie together a lot of the loose odds 'n ends of industry information undoubtedly picked up along the way. Bedroom musicians will probably be able to avoid a lot of hard knocks if they can understand the information presented.

A close alternative reading to this book would be to get an undergraduate degree in the music industry, then go to law school, and finally become a music industry lawyer. Your undergrad education would be obsolete by then, but hey! you're a music lawyer - and music lawyers make all kinds of money, dealing in all sorts of contracts among record companies, music publishers, and musicians (et cetera). Unfortunately, music lawyers don't have much time being musicians.

Be a musician.

Pro Tools (Recording)

As of the writing of this entry, there are three levels of Digidesign's Pro Tools digital audio workstation (DAW) program:

M-Powered: Not counting the special academic version, this is initially the entry level for Pro Tools. This version of the software is made to interact with various M-Audio hardware interfaces. As I stated earlier, this version is basically entry level, but the variety of hardware interfaces available makes M-Powered Pro Tools very customizable. Check out m-audio.com for more information about the software and the hardware.

For example, the M-Powered program (with iLok dongle included) will cost about $250. Add a qualifying $150 M-Audio interface (the prices will vary, but this seems like an average entry-level price), and the DAW will cost about $400.

LE: This is the basic program for Pro Tools. It is often bundled with either the consumer level Mbox 2 series (Micro, Mini, regular-sized, and Pro) or the more pro-sumer level 003 family of hardware interfaces. Check out digidesign.com for more information about LE and M-Powered (mentioned above).

For example, a standard Mbox 2 package (which includes the LE software) will cost about $500.

HD: Take out a loan for this one. It's similar to M-Powered in that there are several configurations to make a Pro Tools | HD system, but these hardware configurations are exponentially more expensive than M-Audio's DAW. Digidesign has more info about the HD system, as well as the top-of-the-line ICON product.

For example, you must choose either the purchase of a new car or an industry-standard Pro Tools | HD system. With gas prices these days, you might want to lean toward building a music studio.

All of the above information does not include the additional costs of microphones, musical instruments, cables, a strong enough computer, and plug-ins (effects).

Happy recording!