February 5th, 2010 by Andres Gallo

To start this article on scales, I want to mention that you may skip my lecture to the bottom of the article, where you can download some poster size printable diagrams on 3 exotic scales, as well as the harmonic minor, natural minor, and major scale. It also probably makes sense to point out what a scale is. In encyclopedia terms, it is a group of notes organized in ascending or descending order based on the pitch of the notes. This does not mean, however, that every time you play a scale you have to play every note in order. If that was the case, most music would sound eerily similar.

There are many uses for scales, but the main use of them which I can see in most western music is for structure. Most western music is based around the major scale, which becomes obvious when one improvises or composes using melodies and chords from the major scale. It just has that sound. Other techniques used with scales involve using for example, say, the major scale for the harmonies, and an exotic scale for the melodies thus creating a distinct mood to the song. This which is more advanced is an invaluable tool for creating unusual melodies, and I say its more advanced as leaving the natural major scale tones can introduce lots of dissonance with some note combinations. The key here is to exploit this dissonance for dramatic effect, or to simply stick to the notes of the scale that also show in the chords. I really feel I should add another tutorial for some basic rules on resolution and dissonance, but for the meanwhile let your ears be the judge; I for one love dissonance if used in the right places.

“Using the previous tutorial, you will see how to find 5ths, or whatever interval. Fifths for example resolve amazingly well, yet if moved just a semitone, while playing the root can begin to introduce sweet dissonance.”

Before I can finish the article, I have to share my favorite technique when it comes to learning new scales, as well as composing outside the box. If major and minor scales are the common thing, dissonance could be the solution many of us curious explorers want. Some of the so called “exotic scales” for example introduce a lot of intervals which can be dissonant or consonant, yet still which are worlds different in their sound compared to those in a natural scale. With this said, if we grab an exotic scale and start harmonizing several of its notes into chords, we achieve a melody that sounds unusual. A lot of composers find this technique to be a waste of time, but trust me. The sounds created this way are a very exciting technique for the musician or experimentalist looking to expand his/her sound. The Hungarian Minor scale for example gives you a minor addb6 in its root chord, and a Majorb5 on its 2nd chords, and augmented on its third and so on. Thought it sounds complex, its only a matter of mixing the notes that come in the scale. Feel free to email me suggestions on what you’d like to see me cover next time.

Scale Diagram Poster Link for Download here.

Print at tabloid size (11×17)

Enjoy!

February 4th, 2010 by Andres Gallo

Image taken from www.ehx.com

The Ring Thing presents state of the art modulation control allowing the user to explore a new sonic world that is both familiar and inventive. Complex modulations with interactive parameters create any sound your mind can imagine. From metallic sweeps to subtle color changes to unique and limitless modulations, the Ring Thing will become your sonic dream machine.

• Multi-wave selection for modulation and Ring Mod
• Low pass Filter for Ring Mod and single side band modes
• Fine and depth control for frequency select and amount
• Tune switch to adjust frequency to your pitch
• Upper and lower sideband isolation
• High quality whammy style effects with expression pedal
• Pitch shifting with pitch modulation and vibrato
• Fully programmable

Find out more at www.ehx.com/products/ring-thing

January 30th, 2010 by Andres Gallo

$695

Image taken from www.lapstick.com

A lot, if not most of times, I wish I had my instrument with me. I am sure the vast majority of guitar players, and musicians feel the same. Knowing, my laziness, when it comes to carrying extra equipment, I know I have to do something. Today I decided to look at my options, and found the lapstick. The lapstick seems to like it could be the answer, to all the guitar players who like me, wish they could play and practice everywhere they go. I know there are many guitarists like me, when it comes to the drive to play as much as possible. With that said, although I still don’t know enough about the lapstick, beyond the specs displayed on their website, it seems like it could be an interesting investment. It is an extremely small, instrument, with a built in portable amp to boot. I’m sure many of you, like I, will be glad to know of its existence.

Find out more at http://www.lapstick.com/

January 21st, 2010 by Andres Gallo

The guitar as an instrument has seen many innovations, throughout the years, with the use of new materials, addition of electronics, as well as many other creative ideas. These innovations date back hundreds of years ago with the first guitar-like instruments evolving to what we have today. Today we have many choices, including versatile improvements on the original designs, as well as a variety of guitar types for different uses. The 1930s for example gave us a new form of guitar, introducing electronics into the originally acoustic instrument. It is creativity like that which allowed thousands of musicians to explore new sounds. Later on, in the 1950’s, the floating tremolo systems became popular giving players more options and room for experimentation. It is all these developments that allow creative musicians to do new things and create new forms of music with new textures not heard before.

With the awesome developments technology brings to us everyday, I am excited to see one of the new MISA guitars in action. I don’t think it will replace my electric or acoustic guitars, but I am almost certain that for many things such an instrument could become the go to instrument for many. Such instrument after all, is not intended to replace the electric guitar, but rather to complement it, in the same way electric and acoustic guitars complement each other.

I am obsessed with digital guitar. But I also love electric guitar, and I have learned what it’s good at and what it’s capable of. Some of its most important qualities and characteristics stem from the very fact that the electric guitar is made out of wood and strings. A guitar string is “beautiful” – because the sound generated comes from the very vibration of the string, interfering with a magnetic flux and inducing an electric voltage, which is then amplified. Why would you want to emulate that? It is perfection. It is pure nature. It is in the analog domain. I did not intend the Misa digital guitar to replicate a traditional guitar

Quoted from MISAdigital.com

This technology could evolve into the main instrument for many musicians. I guess only time will tell, though I want to be part of the experiment if I can afford it.

Be sure to check it out at www.misadigital.com/index.html

October 17th, 2009 by Andres Gallo

For this, my first tutorial for guitarliving.com, I wanted to start with something of a foundation into theory so that we may build upon this lesson as things get more advanced. Theory though boring at first, will help you open many doors in the world of music. Please keep in mind, however, that theory should be used as a tool or guide, rather than a rule for writing music.

So here goes the first lesson…

Almost 100% of the music is based on the 12 notes that make up the chromatic scale. Each set of these 12 notes is called an octave. These octaves are infinite and repeat with the same harmonic values but at a pitch that’s higher or lower. So if you play all the notes of the chromatic scale, and then you play the same notes in a higher octave, you will find that these notes are the same, but in a higher pitch.

With that said, the space from one note to another is a semitone. And two semitones make up a tone.

The twelve notes of the chromatic scale can be named by their names which correspond to the letters A to G, or by their intervallic relationship by using roman numerals.

For the numerals, think of the “I” as being the “key” (I will explain more on this), and the other numerals, expressing their relationship to that “I” interval or key. The letter naming system is used to mention a specific note, while the roman numerals express the relationship between a given note and the key.

for example when the key or first is C its third is “E”, and its sixth is “A”.

Below, there is a table showing these relationships in different keys. Learning the function of the roman numerals in expressing the relationships between the notes in a given key is crucial before proceeding to the more complex lessons

October 13th, 2009 by Andres Gallo

I am pretty sure like me, many of you have been curious about the midi pickup and synthesizer offering by Roland. The GR20 and the GK3 pickup is a great device for those who want to get more out of the guitar.

The following video was made entirely using the sound of the roland gk3 pickups, as seen in the video.

Enjoy and be sure to check out the review, which is on the reviews section. I hope it can help answer many questions you may have about the unit

August 21st, 2009 by Andres Gallo

Simple Freud is my latest and biggest project ever. This band was started about a year ago, and from the very beginning it has been absolute bliss. I thought I would share this with my readers, for much of my happiness is my band.

There is nothing like playing music with other musicians with whom there is immense musical chemistry. One minute, one of us plays a note, and the next, we are all improvising and making some surreal landscapes through the use of sound. This chemistry is the reason why I am so proud of this project, and why I want to share it with my readers. With that in mind I invite you all to check out our music at www.simplefreud.com or on our myspace at www.myspace.com/simplefreud

Hope you all like our music!

You can download the songs from our first Demo titled “Mirame,” for free at www.simplefreud.blogspot.com/2009/07/descargen-nuestro-demo-gratis.html for free

Here is our bio for those of you who want to know more:

In an attempt to bring something new to rock, a group of individuals got together at their laboratory called, “studio” to create the formula they would call Simple Freud. Simple Freud was created with a strategic combination of energy, atmosphere and seratonin, creating a positive state of euphoria in its audience, taking them to an escape from daily life with its sonic landscapes. In all of its majesty, the formula is the result of our influence from other formulas which have been able to take us to a sonic landscape. Simple Freud is the perfect medicine for those who enjoy the sonic qualities of Incubus, Caifanes, Coldplay, Muse, Radiohead and A Perfect Circle. We hope you will enjoy Simple Freud, for we want to become part of your world. A world in which together we can create a healthy euphoric sonic bliss.

Once again visit us at www.simplefreud.com or www.myspace.com/simplefreud

Enjoy!!!

August 14th, 2009 by Andres Gallo

$90

Design

The little alligator is a great volume pedal that does what it was intended for perfectly. The design is quite simple, and feels well constructed with its tough materials, and their smooth implementation. The construction is so good actually, that the motion is about as smooth as it gets. It sure feels a lot better than my 535Q wah pedal. Very neat also, is the “minimum volume” knob which controls the minimum volume available to the pedal. This means you can control the threshold which maycome in quite handy for the creative players. For example I use it on the loop for dynamics in my music, similar to having two channels, with 1 being louder than the other one. Functionality wise its perfect. Like always in my reviews, however, I like to show the negative side of the items I review as well. For this volume pedal, such is its physical size. It takes much more space than dunlop’s wah pedals, yetI don’t see why it should. Put simply, this pedal is unnecessarily big, though not huge by any means.

Sound

Though simply a volume pedal, you tone stays intact when used after the preamp stage. It works like the volume knob in your guitar if not used in the FX loop, and thus your gain will be affected when you lower the volume. It may be used to turn a 1 channel amp into a two channel amp by decreasing the gain. It’s a very transparent sound pedal after all. For most folks, it is sure to become an important tool in their bag of tricks.

Reliability

Durable and smooth construction are good signs. It is definatelly built to last.

Customer Support

Haven’t had the need to call them up. Its functionality is very easy, and it seems very reliable.

July 23rd, 2009 by Andres Gallo

$250

Design

When it comes to delay pedals, it is always hard to justify the price as the good ones are pretty expensive. My all time favorite delay pedal, the Electro Harmonix Deluxe Memory Man, was such a pedal, which always awed me with its gorgeous tones, but unfortunately coupled with a pretty big price tag. Don’t get me wrong, the DMM is worth every penny, but new delay pedals do many things better, and some even though digital sound much similar to the classic analogs, while being capable of much more.
Here comes the TC Electronics Nova Delay, which in my opinion is the most beautiful pedal I own, and the smartest designed pedal I have ever used. TC Electronics is a company that has much experience in the live stage market, and with that in mind, you can expect something that is a pleasure to use while on the stage.
The beautifully designed pedal features both preset and manual modes of functioning for quick and simple use on the stage, as well as a nicely designed tap tempo switch. The stomp-on-switches are very smooth to the touch, and are really easy to press, which is godsend to those who like to change their delay settings in real time with their hands. The unit can store up to 9 presets and they can be completely switched from the floor.
Standard features for a delay that were of course not forgotten are a delay knob, a feedback knob, and a mix knob. These standards are included here as is to be expected, but there are some really neat aspects on the way in which these were implemented. The delay knob for example stays set only on the middle position, while the amount that it is offset determines how quick the delay time is raised or lowered and once you have the setting you want you set it to the middle position. A button controls the type of delay that is being created, of which there are 6. These little details are not very important but are sure to enhance the experience using the pedal.
Unique to the Nova Delay and the grand beauty in its design are the Mod, and Color knobs. The Mod knob can provide some really interesting textures controlling the amount of modulation in the delay, while a Mod button allows the type of modulation to be changed. This is all absolutely genius, but it gets better with the inclusion of a Color knob which allows the pedal to sound like a tape echo delay, an analog delay, or a digital delay. The genius aspect of this is that the way this was implemented, allows you to get sounds that are in between, where as in other pedals you only have the three choices and that’s that.
Last but not least, the unit also has a subdivision button that can cut the delay time in a subdivision of the set time which can come in quite handy. The delay time can also be viewed in both ms, and bpm numbers. That’s not very important in my opinion, but I am sure there is no problem when it is an option. It has so many options, and yet is so easy to use. Definitely a must buy pedal for all delay fanatics.

Sound

The sound in this pedal is absolutely blissful. I am not referring to the many tonal options provided, but rather the ability for the delays to come out absolutely pristine, to the point that you may even call them clinical. I understand many may dislike this aspect in a delay pedal, while others love it. That’s why the color knob is such a beautiful addition. It can make the tone go anywhere from pristine and clinical to the lush thick sound of a tape delay.
Beyond the wonderful quality of its sound, it also features many tonal options as already mentioned. The mod types and the mod delay for example can provide some really interesting textures impossible with another setup as they only affect the repetitions and not the original notes. To top it all, it has 6 delay modes, and one of this is unique to TC. This is the dynamic delay which does some really interesting things with the volume of the repetitions. A beautiful sounding unit which makes creative tones a pleasure.

Reliability

Its pretty heavy, but that seems to be part of the engineering as it seems to have been made to last. It feels very solid.

Customer Support

Have not dealt with their customer support, but it seems they have a good reputation.

July 1st, 2009 by Andres Gallo

$145

Design

A great design is something the guys at Electro Harmonix seem to have become masters of. They are consistently creating stompboxes that are not only incredibly simple to use, but which in spite of their simplicity pack a whole load of awesome tones. Fortunately, the Holy Grail is no exception, featuring only three knobs in their usual tank like durable container. It does not get any simpler than this, yet the control and range of tones possible is still pretty amazing.
The controls include a “Blend” knob, an “Amount” knob, and another knob which controls the type of reverb. The types of reverbs available are, the famous “spring” reverb, Hall Reverb, Room Reverb, and an odd sounding “Flerb.” The blend knob controls the mix of the reverb in contrast to the dry signal, while the amount controls the depth of it. With those two knobs you can get a wide range of different sounds which I will discuss in the sound section.
It’s simplicity is really beautiful for the sounds you can get out of it. Even when it’s off, with its True Bypass switching you can feel calm as your tone will be intact. Unfortunatelly, it was only close to perfect, as I can see people complain about it’s inability to use batteries.

Sound

“OMG…” Well yeah it really sounds that good. The spring mode is absolutely beautiful, with its thick yet clear shimmering tones. As much as I dislike putting thick and shimmering in the same description, I can’t see any other way in which to describe its sound. Shimmering sounds tend to be thin, but here the sound is really thick, and as it decays it just turns into a really nice shimmer bringing a new level of life to your clean tones. It gets most of this character when used through the amps FX loop where the reverberations come through more naturally. It works awesome with distortion as well, though to be honest if not set correctly it can make the sound mushy. Don’t let this scare you, however, as it can also beautify you lead tones.
One mode I see many people complain about is the flerb mode. In this mode, the holy grail does not sound like a reverb, but rather as some sort of modulation effect. I personally love the flerb mode because it is extremely unique. These modulations sound really cool when playing slow arpeggios with the guitar tone’s knob down creating cavernous creepy landscapes. I think this mode just requires some extra creativity from the artist as it sounds very odd, which then again is its best characteristic.
All the modes, are great in one way or another, but the spring mode alone makes the holy grail worth its price.

Reliability

Like usual its built like a tank; a really small tank, but one nonetheless. You probably seen me write this of another Electro Harmonix stompbox, but then again, most of their pedals share the same physical design.

Customer Support

Electro Harmonix customer support is very good. They have always been quick to respond to my emails, and have provided me helpful answers to my questions.