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A short film I made a few years ago for a piece of music that I recorded entirely on my iPad. See if you can guess what the source of the video is before the song ends! I used Sergey Grishakov’s wonderful free mastering app, Matchering, to create a master that crosses the sound of Miles Davis’s “So What” for the upper registers and Lou Reed’s “Walk on the Wild Side” for the lower registers.

I’m the only one playing. Recorded live in one take, never to be repeated. I thought I accidentally deleted but didn’t. I almost lost it.

Geek out: This is a run through of three of the four amp models on Neural DSP’s archetype Nolly Amp sim (the three leftmost models)combined with some live-tweaked drums and playing guitar synth at the same time as the Nolly with Matt Tytel’s amazing Vital VST. I almost lost it a few times, but managed to hang on by a thread.

The image is roast cauliflower I made.

Recently, Peter Kirn over at the excellent blog Create Digital Music wrote an article about Antares, the makers of the much misused and reviled Autotune, and their experimental onboard guitar processor that brings it to the guitar, an instrument that already has it (they are called frets).  It set off an interesting discussion that mostly bears out a couple of things I have thought about guitarists (of which I am one) for a long time. First, we are usually really conservative when it comes to technology.  Second, we usually simultaneously have a hardware fetish: When we do want tech, we want a physical thing even when there are software solutions that do the exact same thing, often better, often for free.

Got to have that box to stomp on, gotta feel it. As an avowed tube snob for the first thirty years of my playing, I have a keen understanding of this. Guitars have vibrating strings sunk into resonant wood. Tubes compress and distort in some wonderful non-linear way that creates a feedback loop, from guitarist to strings to wood to pickups to amp to speakers and back to the player. It is a little mystical and still gives me the warm fuzzies (as opposed to the solid state cold fizzies). This is no BS and there is a connection.

soundcloud.com/But tube snobbery has fallen on hard times lately. Yes, I still think single coils through a tube amp weaving in and out of saturated distortion on the basis of the guitarist’s touch does sound great, but digital modeling has gotten way better over the past ten years, and much of the responsiveness and harmonic structure of tube compression and distortion is available on my laptop. For example, this is all laptop guitars and it sounds as good as tubes to me, both the spanky new string sound of the rhythm and the just-on-the-edge-of-distorted lead. Plus the Hammond B3 sound is through the guitar and the laptop too. Try bringing a real one of those through TSA, which I did with this whole setup. And try to get this out of a tube amp. Same guitar, same day, same laptop, same song. It is to the point that I never play my lovely vintage tube amp anymore, which is a bit of a shame.¹ It has no master volume and I live in a condo, so that is how it is going to be. While I give up a few things, like responsive feedback (of the Jimi variety this time) and early deafness, my tonal palette is vastly expanded along other axes, so to speak. A listen around my SoundCloud or my Digital Guitarist YouTube channel will give you an idea of what I mean.

The thing that most of us guitarists have not figured out yet, and which gear companies do not want us to know, is that anything that can be modelled as a DSP circuit in a piece of hardware can be modelled just as well or better, and cheaper too, in software on a standard issue laptop. It is the nature of DSP. My favorite example is the thousand-plus-dollar digital EchoPlex vs the free VST plugin Mobius, which is in effect, eight EchoPlexes with no limit on the loop lengths. Remember, going digital means we are already out of the analog realm of the tube snob, even if the thing is in a box. But there must be something about the FEEL of that box, right? I think that is nonsense and habit rather than ears.

There is a wonderful piece of research that my friend Jon Sterne told me about, where a Stanford Prof played back different kinds of music to incoming students in different digital formats. What he found was that they liked the sound of 128K MP3 files, complete with hiss, more than the sound of uncompressed audio which was technically much better. Why? Habit. That is what they are used to hearing so that is what they like.

I think this is much of what my cousins the vinyl snobs hear in their LP collections, which have to be massively EQ’d and adjusted in a giant gnarly kludge to compensate for intrinsic sonic weaknesses of scratching sound into slabs of petroleum byproduct before it ever gets to the main stage of the amplifier, and sounds different on the inside of the platter than on the outside to boot. But cuz will insist that he (and it is always a guy. Sigh.) hears a warmth in the vinyl that is missing from digital audio, no matter how good the format. They hear something, but it is not intrinsic to the music, it is an artifact of the vinyl, and they like it.

So what is Antares doing? They have put a mini-computer into the underside of a guitar — forty thousand bucks of hardware according to the video — <sarcasm> whoo-wee, wish I had that!</sarcasm> — that brings us guitarists all that Autotune goodness that has done such wonders for pop music and the news </sarcasm>.

So this is where the discussion gets interesting on the CDM blog. One group of tech embracers drool (and we do that sometimes) over the possibility of getting their hands on one of those $40k guitars while the other says, phooey, you lose the feel. Well guitarists, listen up: I’ll give you most of one of those $40k jobbers for free. Autotune is software. So are GSnap, and Melda Audio’s MTuner, both of which are free VST guitar tuners that as a side benefit send MIDI out of all the notes they detect. On an iPad, you can pay a few buck to get a dedicated guitar-to-MIDI converter that works passably. There is your 95%. There are about five other ways of doing it too. And the last five percent is doable with some DIY noodling. You can also do lots of other stuff with your general computing device that the Antares guitar can’t touch because the processor is artificially limited to doing that one thing.

Ah, but the feel, the bends, the touch — without the $40k guitar, it is all for naught alas. One of the features many guitarists lusted after (and we do that sometimes) was instant retuning. It has been possible since the beginning to transpose MIDI, so I have experimented a lot with doing the instant retune trick on my MIDI guitar. Here is the rub though: The gizmo retunes the signal, but not the resonance of the wood, the frequency of the strings, or the quiet sound of the acoustics of an electric guitar — all those stay in the actual tuning, leading for me to a tremendous cognitive dissonance. Here it is about the feel, and you would have to play really loud to offset that dissonance in the aural dimension, and you would still be left with the haptic dissonance. I am sure, in fact, that the guitar mix for the demo video is run straight to the mixing board so that we cannot hear the actual acoustic sound of the guitar bleed into it. That is why the guitar comes through much clearer than the voices.

The dedicated Autotune guitar is a boondoggle, a gizmo. Anything it can do with its processor, your laptop can do, probably better and for free, with its processor. Let the guitar do what it is made for, which is get an interesting signal out to the mangling stuff that follows. A hex pickup along with your regular pups is actually a useful piece of hardware for this. Use the computer you already own to do the rest. The hardware makes you do what it does. Not that I am against hardware… I’m a guitarist, so there is always some new thing that I sure would like (doh, glad I did not buy that…the company went belly up and disappeared. I got this instead).

Software, when it is nice, can be made to do what you do (most of the time). That is why I opted for the no-synths-built-in synth box when I did get a MIDI guitar setup. I’d rather use my ideas than what somebody predefines for me, which is what the pricier guitar synth boxes are doing. In fact, the guitar synth box itself could be done away with if there was a six-in sound interface that could feed the hex signal to the computer. All that pitch recognition and MIDI-fication could be done on the laptop too if there was the right I/O. I’m sure the adapter is online somewhere….

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1 I recently sold it since after back surgery I could no longer carry it.

The game of life is what is a mathematical game known as a cellular automaton.  It creates patterns that grow and change in a seemingly organic manner that vary depending on the initial state of the game.  Invented in 1970 by Cambridge mathematician John Conway, it is fairly simple to realize on a computer.  It consists of a grid of squares that are either populated or not depending on a simple set of rules.  The rules are as follows:

• For a space that is ‘populated’:
  • Each cell with one or no neighbors dies, as if by loneliness.
  • Each cell with four or more neighbors dies, as if by overpopulation.
  • Each cell with two or three neighbors survives.
• For a space that is ’empty’ or ‘unpopulated’
  • Each cell with three neighbors becomes populated.

Over at the bidule forum, Hansje provided a variant that instead of turning a cell on or off, assigns it a value between zero and one with the value depending on the “neighborhood” conditions.  I hooked the output of it up to some effects.  Actually, not the the effects, but low frequency oscillators (an LFO is a thingy that makes wave shapes that turn controls up and down, like volume or the length of an echo) that are set to sync with the drums.  The LFOs are thus what gets varied, allowing the sound to get manipulated by the effects but still stay in time.

I recorded the result a while ago and decided it needed a bass, but let that go for a while, just getting around to recording it today.  The song is called, of course, game of life, and a recent post reminded me of it.  Thanks Hansje.