Rekindling the Passion for Music

A continuing university: my quest for full musical audio-visual production capability for EDM, combining the latest state-of-the-art technology, repertoire and artistry – lending my humble musical exposure that goes back to my band days of the early 70’s.

And speaking of EDM or Electronic Dance Music, my favourites include techno, house, house techno, bass and dance, among others; and during practice sessions along the way, I'm likely creating variants that hasn't been named yet.  

Having the right equipment and systems application is challenging and expensive.

Thanks to some vendors who have availed me of their flagship equipments and systems solutions (mostly for unbiased reviews), I now have all of these cutting edge technology solutions, essential to deliver musical production at its full audio-visual dimensions.

(My sound cockpit, click to enlarge.)

To deliver seamlessly song accentuations, transitions and climaxes, have Natural Instrument's flagship Traktor Kontrol S8, lined in with a  Gemini's top of the line G4V,  for full 8 (4 + 4) channels(!) control and rendition of songs, remixes, samples, scratches and 4 track stems, plus more than 40 effects.  These have replaced my previous, popularly used DJ controllers that was excellent as such but I found limited in functions as a creative flexible musical platform.

This bundle works beautifully with a Traktor PRO 3 software, which more than a DJ control SW is a powerful musical platform for an on the fly song remixing, mashing, and programmable MIDI control expanding the latitude of creative EDM music live rendition.

The caveat here is 2 instances of the Traktor PRO 3 SW are required.  Each needs to run on a laptop with a minimum of a i5 or a ryzen 5 processor,  ideally i7 or ryzen 7, with 8 GB ideally 12 GB ram, and a 250 GB SSD HD, FHD displays, for a superbly stable, glitch free, real time performance.

For creative studio work, composing backings, remixes, samples and stems, augmenting above  setup, have a Korg microArranger, a Roland SD50 Sound Canvas, Yamaha MPD218 and MPK Mini Pro 2, sound module, synthesizers, sequencers and controllers, working with Cakewalk, Ableton Live and Cubebase DAW applications.  

For stems and samples, occasionally, uses electric guitars and acoustics hooked up to a Line 6 POD HD500X and other effects to augment Cakewalk, Korg and Roland's sound libraries.  

For adding harmony and various vocal electronic effects, have a TC-Helicon Live. 

(Line array system, click to enlarge for details.)

(Sound spectrum check and basic equaliztion, click to enlarge for details.)

For sound and audio reproduction, I use a bi-amplified, discrete line array audio systems. One system with about 1kW RMS bi amp power is for med to large, and another,  250W RMS bi amp power for small venues.  They're sound tested, equalized and fine-tuned to prevailing acoustics and venue size, as part of production or performance preparation.

For mixing, recording (DAC interface) and live performance, have a Yamaha MG10XU that works well with the DAW software for recording.  This is lined in with a DBX 234 Crossover and a DBX 215 Graphic Equalizer for final discrete sound shaping and equalization leading to the bi-amplified full frequency line array drivers system.

For vocal and general front-end audio capture, have a mix of Shure, Sennheiser, Peavy, and "generic" dynamic and condensers type mikes, wired and wireless.

Why Line Array System?

Line array systems have established themselves worldwide as the standard for delivering powerful, exceptionaly clear, hi-fidelity, concert grade sounds, significantly much better than point source systems.

My own sound spectrum tests confirms line array systems to be as close to linear (clean natural sounding, well defined instruments and vocals) throughout the frequencies more than point source. 

However, due to its cheaper cost, point source PA systems are quite common to wedding events venues and DJ performances.

While for the same cost savings reasons I've used point source systems in the past, because of the audible distortion and sound overlap abberation issues I've experienced during performances, my audio PA systems now only uses line array.

(DMX 512 system controlled light and effects, click to enlarge.)

(Programming and testing light shows using Q Light, DMX 512 system, click to enlarge.)

For integrating light show scenarios with songs, have DMX 512 protocol enabled fixtures working with lightshows scenarios and fixture definitions I've programmed using Q Light Controller Plus application and using MIDI control triggers.

(Mood :  subtly building up, mysterious or romantic, click to enlarge.)

This state-of-the-art (used at live shows in Hollywood) DMX system tightly glues light show and effects with music and stage performances, delivers immersive stage projection and dance groove experience.

(Mood :  subtly building to climactic, click to enlarge.)

(Mood : strong, down beat emphasis, click to enlarge.)

(Mood :  explosive, climactic, click to enlarge.)

(Mood :  explosive, climactic variant, click to enlarge.)

Fun Band Days - the Magnus (final) episode

We must have been doing something right! 

In retrospect, I thought our band, Hustle Blood,  still had "a lot of rice to eat" as the saying goes in Pilipino, that is still wanting and would take significant effort to get it's performances "perfect" (acceptable).  

Neither do I consider my guitar playing skills even close (least to my ear) to any of the well known heavy rock guitarists whose rifts and techniques I had studied and admired. 

These bands and their leads I thought were par excellence perfect!  Their balance and harmony were simply amazing and their guitar lead runs, consistently flawlessly clean and soulfully expressive, going through the different emotions of the song.  

While often quiet and shy, I was, on the other hand, very conscientious in trying to keep abreast of what was the "latest and greatest" to establish some reference point for improving our performance.

That said, at one of our bar gigs, a guy approached me after a set, offered me a drink and introduced himself.  Handing over a business card (read senior exec of a well known corporation, owns-runs large chains of restaurants, etc.), very business like, he asked if I was interested to have the band performing at Shakeys Taft and if we can prepare for a sample performance (an audition!, it hit me) and meet with the franchise owner herself. 

Upon hearing the offer, some nervousness kicked in, which I tried to control by clasping my hands tightly together.  I was well aware of Shakeys Taft's reputation as the center venue in Manila for performances of top "Pinoy" rock bands from all over the country, including those touring from Olongapo City (famous for its "rock bars" catering to personnel from the US AF Base).

Name the band and they, in all likelyhood, had performed at Shakey Taft!

I hesitated and doubting the band's readiness for Shakeys Taft, almost was about to beg off from the offer.

Sensing my nervousness and hesitation, the mentor reached out for a hand shake and assured me not to worry.  He said the meeting with the franchise owner, from what he'd just seen of our performance shouldn't pose a problem and also added that he'll put in a good word for us.

And this he did, for the next day, I received a call from the mentor and then  a few minutes after, from the franchise owner's manager to set up a meeting and audition appointment.

Long story short, the franchise owner and her manager, auditioned us, on stage and already with some early patrons present.  Right after, we were led up to her office for an immediate briefing.  I was designated the go-to band leader and was advised to change our name, so I came up with the name Magnus.

We practiced intensely, day and night, making some changes to our repertoire as required. And just after a few nights of performance, we were appointed the regular "House Band" of Shakeys Taft.  

We played 3 sets alternating with 2 other bands (often guest, popular named bands), 7pm thru 4am, 3 sometimes 4 times a week, and this went on for about 9 years.  

Looking back,  landing Shakeys Taft was providential as the management was fair and kind –  never had any issue with them even when some night performances weren't as good as others.  Compensation was beyond expected as well as the musical appreciation, treats and tips from patrons and “fans” some of whom became good friends - sustained us with sense of accomplishment and enthusiasm. 

Because of the work load the band required, I had to quit my daytime computer job, and concentrated on the band and a family boutique business in Makati.

Our corporate mentor had Magnus performing at other Shakeys branches in Metro Manila as well, more often at the Greenbelt Makati and the University belt Morayta  branches during our non gig days at Shakeys Taft.  

The Band was also invited for gigs in Olongapo City's bars but after a brief visit in the city, we opted to simply focused on Shakeys and the occasional city concert gigs in Metro Manila.  

Magnus once performed at a TV show called "Student Canteen", also recorded 11 original heavy rock songs (English and "Pinoy" songs that took me 2 - 3 weeks to compose) but didn't make it to the charts.

Indeed, I had some of the best times and blessings of my life during the Magnus band days. While I've lost contact with its members, I am forever grateful to them for their friendship, commitment, hard work and God given talents.

Above, setting up, fine tuning and doing a sound check, preparing for the 7pm first set.

On stage performing 5 to 7 songs per set, 3 sets per night, 7pm to 4am, alternating with 2 other bands

 Band in between sets, enjoying the break and appreciation treats from patrons..

After a concert performance in Makati I met my lovely wife, Josie, standing among a group of young ladies in front of the stage...   (Note: original photo was a solo of me taken after the concert gig, back at Shakeys, but for posterity, reconstituted to include her picture of around the same date.)

Eventually, this meeting led me to choose between band and family, and rethink my band career plans.

Fun Band Days - the Hustle Blood episode.

My band involvement began when, just for fun, I accepted an invite to join a band being organized by an acquintance's executive friend in Makati, Phil. This was in addtion to my regular daytime computer programmer analyst job in the same area.

The band at the start, was to perform exclusively for the company's events and exec. private parties,  probono or for free.  Initially nameless, the band was eventually named Hustle Blood.

...Here performing at a company's event, at a hotel restaurant patio in Makati, Philippines.

Seen here at a practice goofin' jamming around session at the company's Makati warehouse, Hustle Blood started rapidly building its reportoire of mainly easy rock, instrumentals, contemporary dance, ballroom and pop variety of the early 70s.

Eventually, through a friend of a friend of a friend's invitation, the band perform at mall pubs at night, this time with compensation.  The pub's audience preferences worked well with our personal likings and our repertoire started to build towards heavier type of rock genre, especially metal fusion, than variety and easy genre.

Samples, stems and remixes.

I find it very intuitive to create samples, stems and remixes, and bridges with the combined use of Traktor Pro 3, DAWs, Korg micro arranger MIDI workstation, Roland SD50 studio canvas, and Traktor Kontro S8 lined in Gemini G4V DJ MIDI controllers.

Resulting phrases or songs sections (usually 4/4, 4-8 bars, moving along the circle of fifths) and MIDI-audio tracks are easily previewed via Cakewalk linked to a Korg workstation sequencer.

Then the tracks (samples, stems and remixes/bridges) run thru a variety of DJ'ing workflows using a Natural Instruments Traktor S8 controller linked to a Gemini G4V controller.  This system provides me almost endless combination of functions which I enjoy using on the fly, mashing the songs with some occasional scratches, bridges, pad samples, stems and effects adding excitement to the score!  

Soulfully immersive, one kind of flows or drowns into a river of melodic combinations, movements, bass and rhythmic percussive beats!

This platform provides limitless breath for creative EDM music work and renditioning as one might choose to flow from EDM's genre of techno, house, house techno, bass and dance, among others; along the way creating variants that hasn't been named yet.