Sound amplification

Following our outing at the Singapore Art Museum, Ivan had suggested that we consider investing in a set of microphones for the quartet for our future performances. I thought that was an excellent idea!
We have now performed in many kinds of public settings, including some outdoor stages (e.g. Chinese Gardens) and one concern that kept coming up was the proper amplification (or the lack of) of 4 classical guitars in these spaces.

Well, firstly the classical guitar isn't a loud instrument by any means, and it certainly isn't built for open areas - not without the appropriate amplification, that is.

Secondly, many of these settings are not well-equipped with the proper sound amplification for acoustic instruments. Most of the time, we were given vocal microphones. Since these vocal mics can only pick up sounds directed straight at them, we would simply position one mic for each guitar - placed inches away from the guitar soundholes. The resulting effect we get are usually pretty disappointing. In short, we'd sacrificed the nice, warm tone of the classical guitar in order to obtain an amplified sound which can be described as "coarse" or "artificial" at best.

Thus I scoured the internet for forums and discussion boards to find a suitable set of microphones for Guitaresque. It is clear that we need condenser mics, which are suited for recording instrumentation and music.

Of course there are many brands names that kept popping up - Shure, Audio Technica, Rode - just to name a few big ones. There were also tonnes of different models available, and some of these condenser mics cost almost as much as our guitars!

After doing considerable reading up on this topic in the many forums and reviews, then balancing our "non-professional" needs and also taking costs/practicality into consideration, I've narrowed my search down to this - Samson C02 Pencil Condenser Mics

A review on this mic can be found at http://www.soundonsound.com/sos/oct05/articles/samsonc02.htm

I have since ordered a pair of these from Amazon via Vpost services. And they're on their way even as I am typing this blog! Will try to do a simple recording test when we get them and post our opinions here then.

Guitaresque at the Museum

Guitaesque put up a 1+ hour recital at the Glass Hall of the Singapore Art Museum on 15th November 2008. This is the 2nd time the quartet performed at the museum, the 1st back in 2006, although the location was actually in the Auditorium of the museum.

What was so special about this recital, however, was the fact that it was the very first ticketed performance put up by Guitaresque!

While we'd previously been playing in free-for-public gigs all over the island, nothing tests our nerves more than playing in front of an audience whom paid to listen to us. And it certainly turned out to be quite a different experience.

In total, about 80 people turned up for our recital (out of a capacity of 120), amongst whom was our invited guest - Mr Alex Abisheganaden, the founder of the NUS Niibori Guitar Orchestra (GENUS) and a highly respected figure in the classical guitar space in Singapore.



Fellow guitarist (and the quartet's close friend) Balraj turned up to assist with our sound checks before the recital started, even though he was unable to stay around to listen to our performance.
(Ed: Thanks a million, Raj!)

Based on feedback from friends and supporters in the audience, the acoustics of the Glass Hall, complemented by 2 small microphones set up in a cross-orientation, was superb!

To be honest, we were rather tense and played the opening piece - The Barber of Seville Overture - rather tentatively. There were several nervely phrases, but as the song progressed, we gradually regained our composure and ended the piece on a high.

I think we did pretty good for most of the pieces, in particular - Moon River and Three Preludes were picked up by several people as their favorites for the night. Only Funiculi Funicular was - in my opinion - played below par.

All in all, it was a successful (and enjoyable!) outing for Guitaresque! With this first ticketed performance under our belt, I hope to lead the group to greater heights, and many more wonderful performances in the years to come.

Publicity post at SAM website

Violin vs Viola

No, I've not mistakenly typed in a subject line which has seemingly nothing to do with guitar. :P

In fact, this is in relation to a conversation topic between myself and Dr Robert Casteels, the Music Director/Conductor of the NUS Guitar Orchestra. In short, he was asking me if it would be possible for a Prime guitar player - ie. someone who has not played a Niibori-styled guitar before - to pick up say, an Alto guitar within a matters of 4-5 days and be able to perform on stage with this new instrument.

(note: Dr Casteels himself does not play the guitar)

Having played and performed with Niibori instruments for more than a decade, the answer to this question seems simple enough to me. Since the Niibori instruments are essentially nylon stringed guitars (with the exception of the Cembalo set of guitars, which we are not discussing here) with 6 strings, tuned to the same interval-between-strings as the Prime guitar, and all basic classical guitar techniques apply, I was initially quite certain that the entry barrier to such a "conversion" wouldn't be too high.

So I said, "I don't believe there would be a problem... Basically the player just has to adjust to slightly smaller (in the case of Alto/Soprano guitars) or larger (in the case of the Bass/Contra bass guitars) frets, that's all! "

Dr Casteels then gave me an incredulous look and said, "But that's like asking a violin player to switch to the viola and perform with the latter in a matter of days (or vice versa)? Sure, he'd probably be able to adapt well to the new instrument since the techniques are similar, but to be able to perform? I think not..."

After some thought, I guess I have to agree with him. Sometimes, when you're too used to doing something, you tend to take things for granted.

Haha.. true of so many things in life. =)

A sneak peek...

Here's where we will be performing in 3 weeks' time...







(pictures taken from SAM website - http://www.singart.com/museum.php?page=the_building)

As we have not played there before, I'm not too sure if the sound acoustics of the place is ideal for non plugged-in instruments such as the classical guitar. Hopefully, with the help of proper amplification (ie. good mics and proper placement) the sound will come through clear and crisp!



The quartet's good friend and fellow musician - Balraj has kindly agreed to help us with the sound test on 15th Nov, even though he is unable to attend the performance in the evening, as he needs to work on Sat evenings. (Ed: Thanks Raj! Owe you one! )

My guitar case has arrived!

The fibre-glass guitar case which I'd order from Guitaraffecs has finally arrived (ed's note: Thanks, DHL - your delivery service is ever so efficient! Great stuff! )

Here're some pictures of the case:

The case has a nice shape, and it weighs a little more than 5 kg. (according to the packaging details on the delivery box it came in)

I especially love the twin straps at the back, which allows me to carry the case like a haversack.

The guitar neck is suspended by a raised cushion support. There is also a small attached pouch above which is convenient for carrying objects such as tuners and nail files, sandpaper, etc..

A interior is lined with plush cushioning. Probably not as thick and protective as some people would've liked, but then it's not as if I travel extensively with my guitar, so that is not a big issue for me. Anyway, you cant expect Accord or Karura kind of standard for a fraction of their prices! :P

New scores update

Like all group (and good) leaders, I always like to plan ahead. Even as we are busy preparing the concert repertoire for the upcoming recital in November, I have already been shopping around for the next set of scores we can tackle.

These new ones just came in! =)