Sequencing Compositions on Keyboards

 The use of sequenced compositions : Save your best creations !

I recommend the digital keyboard as always in tune, multi use - from drums to violins  from organ to howls hoots and electronic morphing sounds.  Play away til you hear something really cool and sequence it. Take it from there, changing instrument layers and sounds and play  with it. More elaborate multi part and multi layer composition sequences are possible on many keyboards. 

Keyboards can be linked by midi cords and they can be played in my own equipment's case while reprising a sequenced file. Multiple keyboards can play together in their own sound samples or those of the performing keyboard.

For my own composing and playing I find the retention of tunes from years gone by useful and enjoyable. I have been able to play some harmonica, mostly  " F " harps with low air and suction requirements. Tonight I had played guitar and sung for about forty minutes accompanying sequenced compositions. The sequenced tunes have lyric page notes to identify patches and effects, what instruments, modified how? The information is written  on the lyric performance page. Nice big printed letters allow the lyrics to be read at a glance.  My keyboards save sequenced materials and multi timbral sounds and samples with midi files on an enclosed disc.  Store discs in anti RDF,  metal cookie tins work. Label carefully, make a second copy and individually place all discs in guitar string envelopes to avoid physical damage or wear. Many compositions can be saved on a single disc. List all the compositions on the disc label.

The trend is to have shorter tunes these days. That works well for flashy instruments like harmonica. The sequenced compositions should have one's strongest steadiest performances duplicated press for press and dwell and velocity, depth and force. Accompanying with short performances augmenting or soloing makes it easier to be forceful, accurate and timed right. Do the same with other instruments, a short forceful accurate timely and tuneful solo or augmentation is easier to do well and makes songs shorter. Songs or compositions can be replayed easily by listeners. Most of the longer songs of years ago were repetitive as that was how listeners could re-experience the tune.

Some alleged purists depreciate performances through sequencing as "records", they are not. I thought of my sequenced linked twin Kurzweils as my " Robot Choir " playing and singing with them.  I wrote the tune, programmed the sounds and did the one perfect go round necessary to have the tune played over and over in whatever instruments which are required.

Mea Culapsed

                           I have failed to post significantly for two years.

I have a disability caused by injury which "freezes" the muscles or micro fascia. To me it feels like a collapse and I remain collapsed for months or years. Freeze is the term used to describe Tonic Immobility in a number of dissertations. Virtual Paralysis is how I described the long term result.

I had been playing the Roland Guitar Synth GR 707 with sequenced twin Kurzweils and at first the Gibson Les Paul seemed like a piece of dead wood by comparison. Both guitars sound through a pair of Marshal 4x12's one Marshall and one Musicman head. I got my Big Muff and Electric Mistress, Musitonics and a Bose Super Phaser hooked up and dialed in and oh bliss. 

There is a body of works on the restorative effect of music and dance and other activities. I had worked my way from laying on my back to play harmonica, I am not exaggerating, to dancing with great fluidity and fair endurance between harmonica leads. I went from scooting about on a typist chair to rollerblading 15 kilometers. The activities are smooth and rhythmic. Locked up muscles and joints are pushed and pulled and stretched into flexibility. Sustained and repeated the activities create more and more flexibility and strength dancing, performing or rollerblading.

The same relief and rehabilitation are accessible through many different methods. I stroked and glissaded along the Les|Paul fret board with pick and bars and finger bends. I had hardly been able to stand for a minute and I lifted and swung and fed back the guitar and held it high over my head. 

There is a hogwash mantra about weightlifting and suffering from exercise. I had terrible exercises prescribed to me at Summit Physiotherapy  which definitely did not help with Tonic Immobility and I think hurt me slowing recovery and re-damaging delicate recently healed joints and muscles.

I have lost and not regained my motivation to review and  criticize. I have a different motivation brought on by two unjust and contrived invasions here at my house in the forest  Similar hogwash at the Rockliffe has firmed and spurred my political thought.   I have created a new Drunky Cocamovision The Blog and  Capricious Justice has my latest work as well, I shall continue to compose and practice recovering from not one but four Tonic Immobility collapses and the Virtual Paralysis which results from the collapses.  Perhaps I shall review again or another person might do it.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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What is the wrong kind of criticism:

                                      Criticism must be justifiable and detailed.

I have tried in my Live Rock Critic to be honest, exact and to make observations directly connected to aspects of the performance I reviewed.  Criticism must be rational and focused.

More important, most directly connected to the details of behavior and the results of that behavior are my Political Satire Cartoons and Characters.  

EXTREMELY IMPORTANT TO EXPOSE IRRATIONALITY

When I write a LRC I am attempting to discredit performance which is not well done or not well composed or which is  false, invalid or faked through backing tapes or sequencing or other device. Lip synching  for sure and Auto Tune I don't know. 

 If I were to criticize another obscure or developing musician, I would try to say nothing or try to be helpful in some manner. It is gauche to trash and trash the unsuccessful. The alleged greats of the music industry, the highly touted are fair game for a wider range of criticism, and sarcasm and humor.

  Political criticism is different, certainly, the low level politician must be vigorously criticized, no quarter can be permitted. The criticism must be accurate, the criticism must be fair and rational alternatives must be presented not inoperable theories or unjust or capricious plans.

 This could also apply to music or art projects.  I keep a cartoon character type blogger and Drunkycocamovision You Tube Channel operator. Drunkycocamovision: The Blog featured the Arrival Of Trump in Victoria BC on Father's day. I told CC how easy it had been for DC to photograph Trump Plane, US1? and put it on his blog. CC said " That is because everything is done for you, I would write code" " I would build a mighty site". I guess if that man had to defecatate in the forest he would
                                                   Not with his bare hands , no not such a mighty feat , it could not be

 Dig a pit
     Dig a pit                                                                                                                                            Dig more pit.   Then he wouldst hew the wood of the forest and shape it and he wouldst form it and
                         he would build a house out, an out house and carve the moon with his teeth in to the door, so tough. And only then wouldst he elegantly deposit feces rendolent of the perfumes of the orient, ( Buddhist) a scent to offend none and delight many and such an edifice did he rear where another might have found a toilet or quiet spot in  the forest and have sim[ply crapped./

I have a general apology to everyone, I will, I will post it soon, somewhere where would one of your sites be CC oh where oh where can they be.With a tweedle dm and a tweedle dee oh where oh where

oh where, oh where can they be: I will look for his head and it will speak down to us from the heights . He will condemn the works, "laughable" you should quit and destroy all of your work and postings. You should never have ,.. anything.                                                                                     I 

                              LIVE  ROCK  CRITIC  54

  TO HELL WITH TRUMP AND THE TRUMPLIKE : BACK TO THE PAST:  

                  I am diverging from the posted purpose of this blog, to review and criticize.         

I remember attending a few garage band sessions in Kitsilano Vancouver in the late sixties. There were musicians who later ran the band Prism and the most successful Lavin's blues bands and many other Vancouver rock bands. I played harmonica through fairly large amps til I got my 1951 Fender Super Amp and added a Hammond reverb and a Fender Princeton with a huge air mounted bass speaker in it. I had begun to play guitar in 1966, so as to be able to play at parties. Later I began to play harmonica again, I had my uncle Connie's chromatic Hohners when I was four or five years old, he was dead, WW II. I had aspirations to write. I saw the musicians and the bands as far more interesting prospective writing material than ordinary life, I took up harmonica so as to be able to join and play with Rock and Roll bands and have something interesting to write about. Specialized musical skills are required to accomplish this goal. 

I was able to run around Vancouver and for a short time London England performing the original music and arrangements of Rock and Roll bands by approaching them before they performed demonstrating my harmonica skills and getting to perform with them.  No David old friend and worshiper of Tony and the really crappy Vaqueros, oops quiet now Lindon .  Dave Sundquist called harmonica performances  "playing along", he thought the locked in never varying repetition or rote learned riffs was the real skill in music. Like hell, it starts when Tony boy could not jam with the pros at my Surrey music room, I overheard the first group of musicians say, " How does  Lindon completely change those riffs to a new tune with harmonica?" Tony could never even " play along", he was one of the only jam session (Yale for one) hosts who could not fucking jam at all. Perhaps he learned how to by the time he hosted the Blue Grotto in Kamloops  but I never heard or saw that happen. ( I organized the Space Jams, 1972 to  1978,  at first just reprise jams, but eventually original music live writing sessions at the shack on the farm in Richmond BC, and another egg carton lined shack in Surrey. !974 I moved to Crescent Island, River Road, the last and best years. The all wood living room, dining room, drawing room and the atrium opened up with pocket doors, designed to hold balls, home of the Space Jam, Sundays at the Burr Mansion, now moved to Deas Island Park in Ladner BC.)

 The pros told me a lot, including:  Standing outside Long & a successful musician tells me as he gets  into his corvette convertible, "When you get to the recording studio you better be able to jam, the producer will change everything, even jump in with instruments he plays, your songs will change." It is not great to play the fluid sound bed of blues, almost nowhere to go.  I  replaced the likes of bass, drums, rhythm, with a robot Kurzweil midi filer. I created a multitude of Robot Choir back up fluid sound beds with, never make a mistake, rote musician box. The twin Kurzweils have less brain than a modern toaster, completely require someone else to be creative , original, but can they ever repeat the songs they are trained to play, like clockwork. ( Do you know that the Roland GR series synthesiser guitars I play, can send midi signals to the Midi Filer operated Kurzweils and modify aspects of their rote performance including adding drum rolls and comping variation.)

 Dave, not just playing along, I could exercise the same control as the Roland Synth Guitar has over Keyboards over any band I was playing with. Tony described this on one of the only occasions when I played with one of his bands,(The Lamplighter, Vancouver) as: Fighting for his life on stage as I latched on to the second guitar player vocalist and as the vocalist rhythm guitar described took the band off into outer space. I have never got to do that before he said, of course not under band leader Tony Robertson.

 I brought the band right back home to the root of the tune when I was done.  This is what I did, interesting, transporting, extemporization with soaring leads and smoothly delivered to the vocalist when done, right in the groove.   I was hoping to create a music career for myself that was original, exciting and made money. Always practiced , with perfectly functioning harmonicas and amplifiers, I was dressed in silk shirts and proper matching pants and shoes, I did an hour dance practice nearly every day. I could handle the big PA systems as well.  I was trying to show how well I could play and dance.  In London at the Hundred Club on Oxford St.,  up in Camden somewhere,  at The Roadhouse, at The Swan on Fullham Broadway, at The Wag in Soho.  I played with Irish Bands at Mollys , one of the Irish Rovers said, here in Victoria, You have played at Mollys! I argued politics there with an IRA spokesman as my friendly opponent, I thought blowing up tube stations was an irrational attack on the infrastructure of the proletariat. London Transport  at Charing Cross and Oxford Tube Station was blown up that week.  

 I  had to fly out of London, ex-wife and police created emergency. Charlie Watts had invited me to come and play with his jazz band at the Jazz Club in London,  yeah, sure, play along.   

 

How did I disappear from the music scene, I flew back to BC because I was phoned in England, your ex-wife has RCMP, CRD animal control,  Bailiffs and the crazy cop Officer Mohammed at your house trying to seize it and take the animals away. I am all over the internet with blogs and cartoons about this. The Police, bailiffs and sheriffs were driven off by a couple of Pender Island girls. I have to pay taxes to support all of those parasites, but when it comes to my support requirements the authorities criminally hamper me.  (CC Canada) RCMP contacted police in several cities as revenge! US immigration was told that I was a suspicious and dangerous un-convicted criminal, Collard must be charged. ( Yes, so they can criminally forensically psychiatric hold me for two months and seize my house, sell off my musical equipment . They held me five days once, never guilty but have to be stopped.) The Police are so ridiculous: One of them said as they raided my rural home, what do you do, you just go crazy and playÉ.Then that becomes crazy to them and they start hunting you everywhere.   I would collapse and throw up from fear of being jailed as I attempted to leave here,  I stopped driving to Victoria or Vancouver, certainly did not leave the country again, I have stayed alone on my rural acreage alone just about ever since. 

My latest efforts are on Youtube. There are a couple of pages of how to access my work, Lindon Collard.com gets my website up. The accessing of video by phone has placed a data charge in the way of free viewing, wi-fi can be free, computers access material for no additional cost. Youtube now links material so that one cannot click on a video and be in the channel exclusively, this has interfered with multiple access when in a channel, I will reconfigure my website if possible so all videos in a channel can be directly accessed, I hope. 

Live Rock Critic 53

                           Live Rock Critic 53  April 23 2017

I am being criticized for defending myself against moronic critics who have no respect for the living artist, myself.

My original work was criticized in a ridiculous manner which has no substance but was  just plain nihlistic rejection and anecdotes of how little other alleged viewers thought of my work.  Piffle.

There is more substance to the rejection of the original artist by the musicians who had work in the cities where I sought to create a career for myself.  I could not travel by van from one bar to the next,  I would have to be a member of a band which was original and capable of performing in the desirable venues available to the more capable musicians. 

The catch to this plan is that to have credibility one must be literally``famous`` in one's home city.     I would need to form or join a band and work my way up in the local venues to gain credibility.         The problem would then be supporting the band financially by working locally. The gigs in most of the venues were occupied by zealously schmoozing cover bands. People drank more to old blues songs, was the adage among bar owners.  I did try to overcome these difficulties, I tried to become known on my own. I learned to perform new material instantly, live, to be ready if the opportunity arose to work at music by forming or joining a band. I have recorded everything written, composed and performed by myself for decades. When the internet made self publishing possible I wrote and composed and performed, recorded, video taped and DVR'd and posted music videos, cartoons and animated political satire and social satire, sometimes set to music.

I resent being unfavorably compared with lousy material done badly by the same bar bandies I have complained about. I do not venerate old , traditional or dead. I could not give a damn about the anything of the dead. I absolutely refuse to fail to defend myself just because the stick I am being beaten with is dead. 

Tony Robertson was a big help in 1990, he reminded me that I played harmonica when I had severe head injury and a complete mix-up of all memories. I think that I have developed creatively and that the music and the videos and the political satire cartoons are a further evolution on the writing sessions and the original music played at the "Space Jam" I hosted on my farm in Richmond or in the Burr House in Delta. We learned a lot of brand new fresh riffs every Sunday.     

A vibrant creative music scene could still flourish with new material performed at live venues, music unavailable elsewhere.  Internet Publishing of live original music from venues might be the thing, but not old blues songs ! Perhaps there is still an original music scene in some cities, maybe even in Vancouver and I am unaware.                      Respect the living composer!                                                                                             Lindon Collard                                              Live Rock Critic

                    Live Rock Critic 52: I respond to my critics:

Much more critical than I am of ...well , virtually everyone , are those who trash, dismiss and dishonor my efforts to write, compose, perform, record , video, and publish my work.

I perform live and even record live, using the Stax Studio system which is to put all effects on the instruments, amps and voices and to balance sound using VU and Decibel meters and to then record in stereo using best possible gear. I recorded literally thousands of performances using a Sony HX Pro on new studio quality tape. I find the quality good and useable with Alesis Tapelink.

 When I started making video live, I was faced with the single microphone fake 5.1 or stereo which provided fast, synced but low quality sound. I tried numerous methods, H4N Zoom for instance, to add better sound but I had difficulty. Last night I was excited to use my new stereo & movie camera the Sony MV 1, inexpensive but supposed to work but the SD card was incompatible. The Sony MV 1 is supposed to wi fi to my computer, I hope it works.  I have a new RolandGR707 and sequenced Kurzweils version of "Hillbilli", "Marijuanaville" theme which I am desiring to film .

I have tried to produce video of many types since about 1992. Most of my youtube is '08 to '12 when I made a concentrated effort to publish my work. I had a friend,Tony Robertson, who would at times have writing sessions with me, Vaqueros lead hand and mc at some jams and played with Sue Medley, great going for a graduate of a Blues Music School.{ I originally posted without Tony toured Europe with "Long John Baldry".    My girlfriend who knew the lyrics to all songs. Karioke girl, had some appreciation of my musical ability from having heard my harmonica with a live band. I took her to see Baldry and Robertson and after that she had a less dynamic idea of musicians I knew and me. She thought the performance was old and lame. She dumped me not long after. I never did like Baldry, I attended because Tony told me he was in town. }

    I received a call from one of my oldest friends where he maintained that Tony Robertson videos were applauded but people he showed my videos to `Laughed at me`. I nervously checked my Lindon Collard.com website. Everything was in order, I clicked on music videos and there was Darling Space Girl and 6 more animated shorts. Check them out, on a computer, so data on the phone is not a cost issue, the data cost per second factor has damaged the posting of videos.   Scroll down to my live performance videos, all performances filmed live with sequenced basic song platform of Bass, Drums and Keys. The two Kurzweils will also do real sampled winds, strings and horns. Laughed at or other blanket dismissals, I simply cannot accept that type of criticism. I hope my blog has accurately criticized.

I am proud of my compositions and performances and my producers`animations which are on:

Lindon Collard.com,  or Google Lindon Collard    lindoncollard@gmail.com.   Lindon Collard WEBSITE: 3 Menus: Music Videos - Blogs - Political Satire.  

You be the critic. Check out Tony Robertson Vaqueros, find more than four videos if you can. Check out my website  and  google plus and Youtube for hundreds of mine. You can post commentary or e-mail me a critique or comparison. I will post a Live Rock Critic of the live Robertson performances later,  possibly, I am sure I would offend people with my views on confusion, pitch awareness, covers of songs not sounding like the tunes, no scintilating leads, lack of proper relationship to the melody with leads, monotone guitar and lack of inventiveness . I will not air my views at this time. I am guilty of railing and raving about weak vocals and off pitch vocals and lack of stage presence. No I will not go there. I do not wish to shove any sacred cows or shovel out Bull Chix today. Bye for now . 

                                                                        TRUMP

                                                                              

Like Frankenstein Monster jolted electrically into activity.  Ive  been Trumped.

LIVE ROCK CRITIC  51  THE TRUMP INAUGURATION  GALA, LIVE ON TV

                                                                          

Three doors down guitar player San Fransisco sound Quick Silver Messenger service guitar. Really good. I am surprised that I have never seen or heard of them.

The Donald is standing with Melania and it looks like hes going to sing. No. First Trump is going to dance to some horrible schmaltzy orchestral arrangement.  Clutching Melaniaès back for balance Trump jerked and wobbled back and forth on his tiny unstable feet. His  huge girth balanced as if on a pin he weaved and paced to a rhythm which defied the music.             

Donald yakked at Melania fawningly making gloating faces.  Fawning over himself of course. He points in an arc at the audience as if to magnanimously include them in the attention. Melanias facial expression and body language are those of someone dancing with a giant turd.

                                          

I think I see Trump telling Melania to smile. Trump mouths praise and waves and thumbs ups. His giant belly wobbles as he effeminately hand dances.                

From inside her snuggli  inspired fashion outfit Melania looks disapproving, is DT singing.  

Live Rock Critic back to life like Trump: A bloated corpse drowned in swamp water. Puffed to bursting. Corpulently engorged and dressed up and trotted out and ran for President of the United States and won. Here I am again too.