Gear

The band audition is just around the corner. You need the right equipment to land the job. Should you choose the always reliable tube amp, or the sleek and efficient solid-state amp?

First, Lets start with a discussion of the functions and applications of preamps and power amps. A preamp is the first thing your guitar signal meets when plugged into any kind of amp. Its first task is to boost the relatively weak signal of your guitar (about .0025 volts) up to something more substantial (about 1 volt). This is usually referred to as the gain circuit. Next up is the processing circuit, where the signal is shaped via the tone controls. Additionally, effects such as reverb and chorus may be added at this point, along with “line out” and “line in” points for the user to add outboard effects. Preamps may consist of several gain and processing circuits to create the overdrive guitarists live for, but remember that the signal is still too weak to drive a speaker.

So, how to jiggle the speaker? Enter the power amp, or output circuit. Its sole function is to bulk up the preamp’s signal to 8 volts or more and add the appropriate wattage to jiggle the speaker.

Both preamps and power amps can be tube or solid-state, but with technology advancing all the time, why doesn’t solid-state circuitry make tube circuitry obsolete? C’mon, tube amps are heavier and more fragile than their solid-state counterparts, tubes are expensive to replace, and any engineer will tell you that solid-state amplification is far cleaner and more efficient. But the complex distortion and compression generated by tube circuits (even in their cleanest modes) create “something special” which has made even the very best solid-state amps seem hard, brittle, or harsh in comparison.

However, the past decade brought about some fascinating developments in integrated chip circuitry, most particularly employing “modeling technology” where the complexities of dozens of tube circuits can be cloned and put into a single, small unit. Plug one of these modeling preamps into a good solid-state power amp and a pair of speakers, and you can be sure to turn the heads of even the most skeptical engineers.

In the studio, there is no denying the ridiculous flexibility of a premium multi-effects processor packaged with a cavalcade of unique preamp models, while at the same time, many professional players still believe tubes, and tube amps’ combination of ease of use and unique musical response cannot be denied.

So is one amp really better than the other, or is it just a matter of preference from one musician to another? I believe the answer is YES. No, not the band, but the idea that as a consumer you work with whatever you can afford and utilize gear that ultimately meets your needs.
Personally, I like the idea of a cost effective studio solution with an array of options at my disposal, such as Digidesign’s Eleven Rack, but at the same time if you called me right now to do a live gig, you might be surprised to see me lugging a giant Fender Hot Rod Deville behind me.

The Brehms Blogger

staffwriter@bluelogicentertainment.com

Avoid tension.  Very few musicians think about it until they hear a nasty pop in their wrist.  Ask Vito Bratta about that.  A good warm–up can help prevent serious injury, so start with some stretching and then move on to some scales and arpeggios.  Avoid playing really hard songs “cold.”  Keep your music, metronome, tuner, etc. within your reach to prevent twisting your body, and keep your practice space well lit to avoid eye strain.

If you are not sure if your technique is problematic, take a mental snapshot to see if you voluntarily tense up your jaw, neck, shoulders, or another part of your body.  One you identify where you are tensing up, invest the time to correct the problem.  Always attempt to support your body weight evenly as you play.  Loosen your grip once in awhile to avoid excessive tension in the knuckles or wrist.  Be patient and take frequent breaks to prevent tension from building up.  Small adjustments in your playing habits can go a long way to preventing injury.  Shorter, more frequent practice sessions are easier on your body than marathon practices once a week.

Your equipment can also cause trouble.  If you play a stringed instrument, try lighter–gauge strings or consider lowering the action.  Always use a comfortable strap, and find a gig bag with backpack–style straps to distribute weight evenly.  If you have to transport an amp or PA to gigs, invest in a small dolly.

Listen to your body.  When your arms are feeling tired and strained from playing – stop and rest.  When your back and neck are starting to ache – take a break.  When your throat is starting to get sore – take a breather.  Practice makes perfect, but too much practice can be potentially dangerous.  Take regular breaks, pace yourself do not force yourself.

Do not ignore the warning signs.  If you fear you are in danger of injury or have injured yourself, don’t wait, consult a doctor immediately.  Most injuries are treated easily when caught early.  The most difficult time in my professional life happened during a 9 month stay overseas.  I wanted so badly to improve my playing.  I practiced and practiced for hours on end without even the tiniest break.  When I did finally stop playing the guitar (usually to eat something unhealthy) I compounded the issue by hopping over to my computer and sliding the mouse around for hours and hours.  I never rested, moving back and forth from one to the other.  Then one day I realized I couldn’t hold a fork to eat.  The growing numbness in my hand had progressed to the point of complete failure.  I was diagnosed with a combination of tendinitis and the more common nerve entrapment syndrome, carpal tunnel.  My level of discomfort was steep enough to warrant my arm in a sling and various forms of rehabilitation for six months.

The rehab process was tedious and slow, but I learned a lot.  For instance, carpal tunnel is a specialized example of subluxation.  The hand has many nerves that travel in and out of a tunnel of bones forming the wrist (these bones being the carpals.)  This delicate system of nerves can become entrapped, compressed, and pinched with the slightest misalignment of the carpal bones.  Tendinitis on the other hand, is really a description of the symptom and not the cause.  Tendinitis is an inflammation, and can be “minimized” by locating the nerves that are blocked and/or the nutritional problems causing it.

Oftentimes  the life of a musician can be a world of stress and stimulation.  This stress – whether physical, mental, emotional, or chemical – first stops at the adrenal glands and makes them overactive.  Your body’s adrenal glands sit atop each of your kidneys and produce a very powerful chemical called adrenaline.  In times of stress your body uses this chemical to help keep up with what your brain is telling it to do.  Eventually, without proper nutrition, stress burns out the adrenal glands and your body cannot keep up.

I often made the mistake of fueling my body with junk food, not getting enough sleep, all the while working under high-pressure situations.  Turns out my adrenal glands were blown out and highly deficient in B and C-vitamins.   Nowadays I make a habit of eating a decent breakfast and taking my vitamins.  Turns out Mom was right all along.

Remember, prevention and attention are the keys to avoiding tension.  If you take your vitamins, rest, and lighten up (your grip), there is a good chance you will prevent injuries and ensure you will be able to play your instrument as much as you like.

- The Brehms Blogger
staffwriter@bluelogicentertainment.com

Effects

December 12, 2010

“You can sure learn a lot when you write music, particularly when searching for effects that will work best for you,” says guitarist and songwriter David L. Brehm.  “When you write music as a means to express yourself, in your own voice–only you know what is supposed to fit within the song structure.  As musicians, we often contemplate what we own in terms of effects and at the same time are asking, ‘How do I make this song happen the way I hear it in my head?’

With a little help from his Pro Tools software, David taps his own creativity by working in his home studio in Dallas, Texas.  “When we first started writing our own material, the ideas came from melodies and various chord progressions, but we wanted to fill out the sound once we started bringing in other instruments.  This led me to try the Eleven Rack to greater enhance my effects options.”

“We really tried hard to create sophisticated yet ‘retro’ orchestrations, particularly on ‘You & Me,’ which we knew had room for greater effects on the bridge section,” says Stephanie.

“Such orchestration typically requires some fancy pedalboard footwork in live settings.  Whether in my solo shows, or during our duo shows,  I loop myself (David uses a Boss RC-50 Loop Station) so I can have something on which to play jazz solos or maybe to add interesting harmonies where solos are not required.”

“Effects need to have a reason to be.” says Stephanie. “David and I don’t agree on everything, but we agree on that.”

-The Brehms Blogger
staffwriter@bluelogicentertainment.com

The Ideal Guitar

November 9, 2010

After playing for a number of years, David Brehm reached a point where he started to imagine his ideal guitar.  It would of course contain the usual combination of features such as a neck, pickups, and strings, but more needed to be had in an order to hold the lofty status of ideal guitar.

Despite countless hours in guitar stores on both coasts, David realized he was not any closer to making a decision and the time had come to call in the experts. He carefully calculated his budget then scurried over to Charley’s Guitar Shop in Dallas to present his dilemma.  Store managers’ Pablo, Brian, and Stephen each weighed in on the discussion.  An hour and a half later David was directed into a special room which held a wall full of Gibson Les Paul Guitars.

David found himself drawn to the dark, far corner of the room.  He pulled a Wine Red Studio model off the wall.  He asked what distinguishes this guitar from any other guitar.  Guitar tech extraordinaire Bryant “Pablo” Russell said “Gibson Les Paul guitars have a number of defining characteristics when compared to other electric guitars.  For example, the strings of the guitar are mounted on top of the body of the guitar, rather than through it.  The guitar is world famous for its signature sound, and although famous for playing classic rock, it has tonal qualities to match any musical genre.”

As David ran his fingers across the strings, Brian Harris spoke of the instrument like he was describing a work of art.  “It has unmatched natural sustain,” he said.  “The tuners are not flashy chrome but are exceptionally smooth and of high quality.  The bridge of the guitar is art through simplicity.  No goofy little knobs to adjust the fine tuning.  No need when the instrument is built so well.”

As the afternoon sun streaked across his Jeep window, David made his way onto the tollway road stealing glances at the new gig bag on the passenger seat.  Snug inside the bag was his ideal guitar.

- The Brehms Blogger
staffwriter@bluelogicentertainment.com

Renowned educator and mastering engineer David Rosenblad recently wrapped on the latest sonic collective by jazz-pop songwriting duo The Brehms – the latest full-length album featuring the singles, “Red Dress” & “You & Me” - crafted in 4 days at David’s DRM studios in Dallas, Texas.  “Red Dress” – a sultry, slinky jam with a swinging Julie London style vibe – required Rosenblad to be careful in how he left his mark.
“The Brehms like their mixes a lot and wanted it hot.” Offers Rosenblad of his primary directive from the self-producing artists and producers, David & Stephanie Brehm.  “Having worked with David & Stephanie on film scores such as “A Noble Way,” I knew how important music is to them.  We discussed what I believed to be the appropriate enhancements and worked our way toward their ultimate mastering goal.”
The subdued frequencies on the top end of the track could have led some mastering engineers down the wrong path.  “Upon first hearing it, my first impulse was to lift the highs and brighten a bit,” explains Rosenblad.  “In the end it turned that the correct approach was in direct service of the vocal.”
For limiting, Rosenblad looked at his arsenal of compression tools and picked what he knew would be best for the job…but he likes to keep trade secrets just what they are, secrets.  “There are many look-ahead limiters,” he explains.  “They all sound different and they are all not created equal.”  These various compressors are properly instigated with only certain types of songs.  That is the biggest secret to mastering: knowing and understanding the sound of each tool in the box.  You hear what you need and apply it appropriately…mastering isn’t just making it loud.  It is finding that sweet spot between ‘competitively loud’ and the most crafty and satisfactory result for the client.  In this case, the artists were very clear per their material, particularly the songs “Red Dress,” “No Turning Back,” and “You & Me.”

- The Brehms Blogger
staffwriter@bluelogicentertainment.com

It’s mid-October, the location is AMS Pictures and the The Brehms just walked in and started conversing with Cliff, the AMS sound technician.

This American Diabetes Association event is being held in a classy, converted studio space typically used for Television and Film.  Stephanie moves quickly across the aisles in her pretty blue dress, set list in hand, hunting for the lighting technician.  All at once she pauses, looks back towards David and smiles while he sound checks with an original instrumental song.  Judging by her reaction there may be bigger plans for this song in the near future.

With a positive outlook and a shared heart for charity, The Brehms are visibly thrilled to be the featured act at this event.  “We love the atmosphere at charity events, visitors from all walks of life come together for an inspired purpose,” says David Brehm.  “As soon as we know our availability we immediately respond to humanitarian causes, but this particular event is especially important to us as we both have family members who struggle with Diabetes.”

”I was so excited this event was going to happen,” says Stephanie Brehm.  “So many people coming together with giving on their mind.  It is inspiring.”

It is 7 o’ clock, the crowd has arrived and The Brehms are moving into position for their first set.  David strums a saucy little arpeggiated intro and Stephanie steps up to the microphone.  A beautiful acoustic rendition of their original tune “Red Dress” comes to life.  This is music with a purpose.

Gear Head note:   The Brehms as a pair do share and affinity for stripped-down rigs – David plugs both his Martin guitar and his Nylon Stringed Godin through a Boss Loop Station, then he and Stephanie both plug into a Bose L1.  That signal is directed into a Mackie board where it is run out through two JBL main speakers, then the stereo signal is sent to the studio’s overheard PA.

- The Brehms Blogger
staffwriter@bluelogicentertainment.com