Dotted Eighth Delay Studies

Setting up the U2/Hillsong delay in a variety of situations.

The Sessionists

Esther Subra (vocals), Serena Chew (keys), Justin (guitars), Alphonsus (drums and percussion)

Thoughts on G.A.S.

Why you should save up for an expensive guitar.

Setting Up Disaster Area DPC-8EZ and DMC-8D MIDI Controllers

An easy-to-follow video tutorial to get those patches programmed!

An Overview of My YouTube Channel

Feel free to browse some of the playlists on my channel. Hopefully this leads to you liking and subscribing!

Wednesday, August 29, 2012

Tone Revision 3 (aka The Never-ending Story Part 20-Something)

There's a very high turn-over rate of pedals on my pedalboard. I've downsized from this:

Mounted on a Pedaltrain Pro, mid 2011

To this:

Mounted on a Pedaltrain 3, late 2011
I got rid of the Biyang pedals, not that they sounded bad, but I just didn't need two choruses and two delays (my Deluxe Electric Mistress can achieve tones from a mild chorus to a faux Leslie). The Biyang Chorus also added a lot of background noise even when disengaged, which I'm told is normal for certain mod pedals. The stacked delay sound was nice, but nobody could tell the difference when I used it.

I got rid of the equalizer because I realized I could make do with the EQ on my overdrive pedals, and there was some noise coming from it. (It appears that the pricier your pedal, the less likely it will have noise in the chain. Something I should have known a long time ago.) I sold off the GR-20 'cause I realized I should concentrate on being a better guitarist than trying to sound like every other instrument.

And now, my pedalboard looks like this:
This installment saw
  • Replacements: I changed from a Korg DT-10 to a Pitchblack for its smaller size, and changed the AC Booster to a BB Preamp, which I much preferred.
  • Arrangement: All my drive pedals are on the lowest tier, to help in visualizing the signal flow.
  • Additions: A SansAmp GT2 for amp simulation when I don't have an amp, and a Visual Sound H20 for an extra layer of chorus and delay. 
Yes, I'm back to two choruses and delays. But I got the H20 because I originally wanted to use it just for my Taiwan gig and needed those sounds in a relatively small, combined enclosure. I then found a way of hooking it up and squeezing the pedalboard arrangement so that I now have no more space for any new pedals. In all honesty, the pedalboard turn-over stopped when I finally ran out of pedalboard real estate.

How do you stop your pedalboard turnover? And in a related question, when does your GAS stop?

For further viewing (my Quick Question on GAS):

Thursday, August 2, 2012

The Curse of Canaan

Why did Noah curse his grandson Canaan? Taking a cursory glance of the passage, it reads that this boy’s father, Ham, saw Noah’s nakedness, and as a result, Noah cursed Canaan, who became the patriarch of Israel’s enemies, the Canaanites. The story seems capricious on the surface, in contrast to the largely reasonable historical account of Genesis. The key to understanding the passage lies in understanding the cultural context in which this passage is written, and the phrase that seems to make little sense in the English language is that Ham "saw his father's nakedness".

As it is with any language, one way to communicate an idea differently is to use a figure of speech. Some of the Bible’s figures of speech are euphemisms that promote modesty. For example, instead of saying that Adam had sexual intercourse with Eve, the Bible more politely says that “Adam knew Eve his wife, and she conceived” (Gen. 4:1). And Moses writes, “the man who lies with” rather than using the modern and more crude phrase, “has sex with.” The reader who misses these common figures of speech will misunderstand the plain meaning of various passages.

Moses authored the first five books of the Bible (wherein Genesis is a part of), and God through Moses used the same decency when describing other physical relations. For example, when prohibiting incest in the Mosaic Law, rather than saying, "a man shall not have intercourse with his mother", Moses wrote that he shall not “uncover his father’s nakedness.”

‘The man who lies with his father’s wife has uncovered his father’s nakedness…’ Lev. 20:11

Other scriptures which employ this Hebrew figure of speech can be found elsewhere:

‘If a man lies with his uncle's wife, he has uncovered his uncle's nakedness. … ‘If a man takes his brother's wife… He has uncovered his brother's nakedness.’ Lev. 20:20-21

Committing incest with any female “near of kin” can be described as “uncovering his nakedness” (Lev. 18:6), referring to the appropriate male relative, including the nakedness of your father (with your mother, Lev. 18:7), or your sister, granddaughter, stepsister, aunt, daughter-in-law and sister-in-law (Lev. 18:9-15). Of course, this can also be described in more literal terms as uncovering the woman’s nakedness, but it can also be referred to, idiomatically, as referring to the husband’s, father’s, brother's, uncle’s, or son’s nakedness. Her nakedness can equal his nakedness because as Paul writes, your body is “not your own” (1 Cor. 6:19), and from this perspective, your mother’s body belongs to your father. Thus:

‘The nakedness of your father’s wife you shall not uncover; it is your father’s nakedness’ Lev. 18:8

Ezekiel used this figure of speech in this Hebrew parallelism:

“In you [O Israel] men uncover their fathers’ nakedness; in you they violate women…” Ezek. 22:10

And Habakkuk condemns not the sin of homosexuality but of getting your neighbor drunk in order to seduce his wife, when he warns:

“Woe to him who gives drink to his neighbor, pressing him to your bottle, even to make him drunk, that you may look on his nakedness!” Hab. 2:15;

Habakkuk warns against looking upon a neighbor’s nakedness, which is just the slightest alternate form of uncovering his nakedness. (See also Leviticus 18:10, 14, 17-18; 1 Samuel 20:30 and Ezekiel 22:10-11.)

So, understanding this common Hebrew figure of speech enables the reader to comprehend Moses’ 3,500-year-old account of why Noah cursed Canaan:

…Ham was the father of Canaan [which is the actual topic of this story]… And Noah began to be a farmer, and he planted a vineyard. Then he drank of the wine and was drunk, and became uncovered in his tent [his own drunkenness left his wife vulnerable and exposed to Ham’s wickedness]. And Ham, the father of Canaan [repeated to emphasize the point of the story, and to correct any possible ancient misconception about the real identity of Canaan's father], saw the nakedness of his father [that is, he had sex with Noah’s wife, Ham’s own mother], and told his two brothers outside [as wicked people often brag of their sin, and as misery loves company, perhaps even inviting them to do likewise]. But Shem and Japheth took a garment, laid it on both their shoulders, and went backward and covered the nakedness of their father [refusing to take part in what was apparently a rape, and literally giving her a covering, probably with an animal skin, and in hopes of beginning the healing process for her and their family]. Their faces were turned away, and they did not see their father’s nakedness [i.e., their mother’s nude body]. So Noah awoke from his wine, and knew what his younger son had done to him [Ham had violated Noah's wife, which he found out from her and his other sons]. Then he said [after he learned of the pregnancy]: “Cursed be Canaan [whose father was Ham]…" Gen. 9:18, 20-25

Canaan’s true story shows the tragic reality of a child being set up to fail by the wickedness of his father. Thus Noah cursed Canaan as a statement of that reality, not as a hex or evil spell, but as a warning to others against following in Ham’s wicked ways. This account, at the very beginning of the repopulation of the Earth, also helps to explain the world's ubiquitous taboo of incest between parent and child, found by anthropologists to exist in virtually every known age and in virtually every known culture. The lesson was a harsh one to learn. Canaan was cursed inherently by being conceived through incest. The law of reaping and sowing inexorably applies to the children of fallen men. A father's alcoholism punishes his child, not by fiat from God (nor Noah) but by the cause and effect that children suffer under bad parenting, an unavoidable part of man's fallen existence until God ends this phase of human history. So incest set the background for centuries of conflict between Noah’s Hamitic descendents, especially those through Canaan, against the descendants of Shem, the Semites, especially the Jews, to whom God promised the land of the Canaanites.

While the story of Canaan’s curse follows the Creation and Flood accounts, rightly understood it helps us to see that all throughout, Genesis is a rational book of history.

Tuesday, July 31, 2012

Dotted Eighth Delay Studies

Dotted eighth, the magical note integral to music of U2 and modern Hillsong. I've come up with several videos to properly explain how to set this up and apply this in a variety of situations: with a proper delay pedal, in the time signature of 6/8, and with a small practice amp that doesn't have displays.

Some background:

Here's a diagram to illustrate what happens when you use the delay:

The above represents four beats (quarter notes) in a bar of 4/4. The picked notes (top row as indicated with a ^) are picked on beats 1 & 2 & 3 &... (i.e. 8th notes) while the metronome clicks at 1, 2, 3, 4 (i.e. quarter notes). The delay notes come in three-quarters of a beat after the note is played (i.e. 3x 16th notes) and appears right after the next note is played.

Tone Tips: The Dotted Eighth Delay


Tone Tips: Programming the Dotted Eighth in 6/8


Tone Tips: Programming the Dotted Eighth with a Practice Amplifier


Tone Tips: Obtaining the Dotted Eighth on a Manual Pedal


Update: 14 June 2014
Some of you guys have been emailing me asking me why your dotted eighth setup with the "80/20" rule (effect level/feedback level) doesn't sound right. I've investigated several pedals and realized that some pedals function with a mix level knob, not an effect level knob.

What a mix level does is superimpose the wet/dry signal and allocates space between the wet delayed signal versus the dry signal (your playing). So if you have a high mix level, let's say 75%, what you hear is that in the sonic space, 75% is the delay, while 25% is your playing. Suffice to say, this really knocks you off your socks when you try to play this live, as the delay is so much louder than your actual playing.

Your goal in programming a dotted eighth delay is to have the repeats at the same volume as your playing. To achieve this with a mix level control, put the mix at 50% (so the ratio of wet/dry is 50/50). This should make the delay as loud as your playing and not overpower it.

Tone Tips: Mix versus Effect Level


Saturday, July 14, 2012

Platypus Test Kitchen


It is a rarity for me to find Christine for lunch on a weekday, so when the opportunity presented itself (in the form of an exit clearance medical examination I had to do at a clinic nearby), we decided to go with something slightly pricier than the norm: and hence our trip to the Platypus Test Kitchen at Crawford Centre, a place known for its hand-made pastas with specialty ingredients.

I had the truffle pasta with smoked bacon, which ranks at 70% shiok factor relative to the true truffle pasta I had at Jamie Oliver's restaurant in the UK! This goes beyond slightly more than a hint of truffle oil as offered by many other pasta places.


Milady went with one of her favorite pastas: crab meat pasta. You can see the chunks from the picture below, and it may not be as chunky as the squid ink crab meat pasta we had at Valentino (which converted me to considering crab as something I'd actually order at a restaurant), but it's sizeably sastisfying. I think I would have tasted the crab more if not for the overwhelming taste from the truffle pasta.


The meal upgrade is well worth the price, as it included a bowl of chunky mushroom soup and a drink. I went with lychee tea, which was a pleasant surprise: they used lychee essence and actual tea, not some Polka instant lychee tea.


All-in-all, it's definitely a place I'll visit again. I'll find some excuse to visit Christine for lunch!

Thursday, July 5, 2012

Sarnies


I was able to meet Christine for lunch near her work place, and I soon discovered that the CDB is riddled with little cafes, eateries and restaurants that command higher prices than elsewhere. On first glance, it can appear absurd to pay $15 for a sandwich (that's nearly two Subway meals put together!), but don't let that dissuade you from trying Sarnies, an Australian sandwich bar.


When I was a student in Australia, the canteens and cafes around campus had a few unique characteristics: they served sandwiches/croissants/salads for people on the go, there was Indie music played over the stereo system, some part of the cafe decor was dedicated to some form of art, and the coffee was good. Stepping into Sarnies brought back all those memories.

Christine and I decided to share a roasted beef sandwich and a salad, and they didn't disappoint!


Generous helpings of rocket and guacamole were the highlight of the salad, but we couldn't figure out where the bacon bits were. You can do what I did with the rye bread: use the guacamole as a spread and consume it like you would a starter bread. However, be warned that it's messy and potentially unglam.


I wish I had placed my hand in the shot to give some perspective of the size--it was a huge sandwich! Even with the toothpick to hold the sandwich together, there was enough filling of beef, lettuce and mushrooms to spill out despite my best efforts to keep it from disassembling. I had to remove the greens (and thus making it one level thinner) to comfortably hold the sanwich.


Last and certainly not least, I ordered a cappuccino. Do not add sugar! The chocolate powder used on the foam sufficiently sweetens each sip. The coffee was of the right acidity and had enough body to have some "kick", obviously to cater to the office workers needing a caffeine boost for the rest of the day.

All-in-all, it was a good experience and an enjoyable time, particularly for me because of the nostalgia. Try it out!

Thursday, June 28, 2012

Return of the PEN



I learnt a valuable lesson when handling cameras, and I learnt it the hard way. I wanted to do a self-portrait for the purposes of updating my resume and professional profiles, so I used a tripod to prop my Olympus PEN up. Unfortunately, I must have extended one of the legs shorter than the others, and as such, when I released my grip on the tripod, the inevitable consequence of gravity taking over happened:

The camera fell facewards towards the ground. Before I could react, it had already landed squarely onto the lens with an audible crack. It was disheartening when I inspected the damage: the lens was bent (M.Zuiko lenses have an inner/outer shaft assembly to zoom), the motor was stuck, and the focusing ring was jammed. In short, I transformed a 14-42mm zoom lens into a 25mm out-of-focus prime lens.

At least the lens bore the full brunt of the damage. The body miraculously had no scratches or dents, and it could still take pictures, although I couldn't tell if the camera functions were working properly since the lens was out-of-focus.

With much thanksgiving, someone with a spare lens responded to my shout-out on Facebook (social media does have a use after all), and it was a fantastic 14-42mm Mark II! With a slimmer profile, a faster focusing motor, and a refined lens construction which made images sharper, I found a new-found obsession to using my PEN. Here's a sample of shots taken:




I admit, I'm primarily a P shooter, which I think is automatic on steroids. These were taken outdoors under shade with ISO 400. With plenty of light, this ISO could freeze our laughter (captured brilliantly by Julia!).



Indoor shots with ISO 800 had a little more grain to them, but I had to crank it up to counter the darkness of the stage (our church meets in the cinema, and the only source of illumination are a pair of stage lights that are point, strong sources of light). Even at this ISO, I could not eliminate motion blur:



It seems that this Mk II lens does not perform as well as its previous incarnation in low-light situations, but I suppose there must be a trade-off somewhere. I'm going to buy this lens off you, Uncle Michael! Thanks heaps for helping me return my PEN to service.

For further reading:
Olympus M.Zuiko 14-42mm Mk I vs 14-42mm Mk II

Wednesday, June 27, 2012

First Impressions



I'm a tech geek, so naturally, as and when there are promising pieces of new tech for me to play with, I'd be the first to jump right in. DraftCraft seems to have multi-platform publishing, so I'm trying this out. Maybe my ultimate iPad blogging experience will be actualized with this.

Ready, steady, blog!

Thursday, June 14, 2012

Over the Top?

I moved my main pedalboard to clean that particular spot of the room (I do suppose my board is getting a little big if there's a substantial amount of floor that doesn't see the light of day). It happened to be in front of my practice rig consisting of my Line 6 gear: the PODX3 and the Spider III.

"Hey, since everything's together, how would it sound if I hooked it all up?"

Yeap. Pedalboard into PODX3 into Spider III. I set the POD like a rack, with the amp/speaker sim on minimal EQ, modulation and delay on post.


I'll be honest: it wasn't impressive. Maybe my signal chain was too long and caused signal degradation, or the digital tone of the PODX3 and the lack of tubes in the Spider III really don't blend well with analog pedals. After some (rather dissatisfying) tweaking, I gathered that the best tone was to turn the amp sim completely off, flatten the EQ on the amp, and rely on the pedalboard as the main preamp and EQ.

Maybe I could improve the tone by:
  1. Using better cables (I'm notorious for using cheapo, lao-pok cables), and having a clean buffer in the front of the chain to push the signal through all that mess. Some of friends insist on Lava and Monster cables, which can cost nearly as much as the pedalboard when used liberally.
  2. In the digital domain, ditch the Line 6 PODX3, which you have to admit is rather inexpensive compared to what the pros use, and go with a rack setup of the Axe FX by Fractal Audio (two of my favorite musicians, Dave Wallimann and Pete Thorn, use this setup almost exclusively). The modern digital has come a long way in a rather short space of time
I'll stick to my analog pedalboard, with my PODX3 as a backup and the "studio rack" for additional effects. You've got to admit, despite all the flak Line 6 receives for its inferior digital amp sim, when you apply its modulation and delay effects in the mix, no one can tell it's Line 6.

Saturday, June 9, 2012

At Wong Chiew

I was standing at the front of the counter, waiting for someone to take notice that I haven't placed my order. A server came up to me after 5 minutes.

Server: Are you here to order?

Me: Oh me? Of course not, I'm here to admire the fine art of beheading a duck.

Fret not, I didn't actually say that, but I very nearly did, especially after her condescending tone.

A New Addiction

I'm addicted.

No, it's not a substance, or a new band, or (heaven forbid) new gear--I'm in love with the bass. I acquired a 4-string Fender Jazz bass, and have effectively replaced my practice time usually reserved for guitar with bass DVD's, bass e-books, and bass articles. I've played for two services so far (first ever at a Chinese worship service for New Heart ministries, and the next at AMK), and the response has been encouraging.


Some material I've been working on:
Dave LaRue's "Essential Bass Concepts"
Stu Hamm's "Fretboard Fitness"
George Urbaszek's online videos
Trying to study players like Pino Palladino and David LaBruyere

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