Monday, July 31, 2017

Singing with a Kiwi accent

Gidday and stuff!

I have a Kiwi accent, like my mother before me, and her mother before her, and her mother before her. So my accent comes from Turakina via Kai Iwi and Taihape. It's kind of RKP (Received Kiwi Pronunciation) I suppose you could say.
So, when I sing my own songs, that I wrote myself, I use my own voice. You can hear it on albums such as Atlantean Night Tourists.
Every so often, a reviewer will point out the Kiwi accent as if it's a kind of affectation. Like I'm doing it as an act of self-sabotage, almost, and people should know they're supposed to sing like an American or something.
Perhaps it's coming from a punk/DIY background that gives me the impetus to sound like myself. To represent where I come from. I have played in covers bands for a long time too, and when I play other people's songs I do put some effort into trying to sound more like the way they sang them.
I sang along to other people's songs for many years when I was a kid, well before I was in a band, so I did pick up some of the "80's rock pronunciation", and I do remember examining my pronunciation when I started playing my own songs.
A good example to compare is the word "I". Particularly if the singer holds onto the word for a while, then you can really get a feel for it.
Here's the very first song I ever recorded as the Bing Turkby Ensemble - Crumbly (on a 4-track cassette deck, in the garage-cum-bedroom at the back of my parents' house, 1996):
https://turkby.bandcamp.com/track/crumbly

Was I influenced by Jonathan Richman's completely down-home pronunciation in "I'm Straight"? Very probably.

He had me at the first "I". I love how he sounds like nobody else but himself.

Another example, this time in the chorus: "EMI" by the Sex Pistols. Even under all the sneering, you can tell that John Lydon is British.

And now the best example of an "80's rock" style of "I" that I can think of right now: 'I Wanna Rock' by Twisted Sister.
It's funny, I don't sound like that when I sing, but now I've dug up this video to check it out, it seems I took almost everything else about my performance style from these guys...

Thing is, these acts sounded very exotic to me when I was growing up in a small town in a small country on the other side of the world from where this was all happening. So my theory is that my Kiwi singing voice might sound similarly exotic to a listener from Taos, New Mexico, or Munich, or Singapore.

Every so often I'll use a different accent in a song just for effect, the same way you might have a trombone solo to make a change from a guitar solo.

Anyway, I firmly believe that you should sing however you want to. Singing (at home, or in the car, or at a pub) is so much fun - don't be scared to do it!

I'd still be interested to know - do you sing in a different accent than the one you use for everyday conversation? If so, did it just happen, or was it a conscious choice?

Happy singing!
Love from Bing.

P.S. Recording update: prep is ongoing for the next Heavy Blarney album. Some songs are very close to being finished, some are still very much in a developmental state. Expected release date is currently March 2018, but with luck, it'll be earlier than that.

P.P.S. Book update: there are still a few copies of The Musomancer book left in the TurkbyTone warehouse. You can also buy e-book or p-book versions from Amazon. The sequel is still stubbornly refusing to write itself. But since I have just started an extramural paper through Massey University, I'll probably start writing the book instead of doing my coursework. Cos I'm like that.

Saturday, June 17, 2017

New banjo - new banjo pickup

Greetings to all the lovely readers!
This blog is happy to have your eyes upon it.

So, not too long ago I bought a nice Deering Goodtime short-scale tenor banjo to use for my Heavy Blarney project. Not wanting to run the risk of wrecking it - (rash risks can ruin resources) - I decided not to do what I did with my last banjo. Which was to hot-glue my own DIY pickup onto it.

After looking around at the various pickup options available and then having a look in my wallet, out came the glue gun.

For those who haven't had a go at making their own piezo pickup before, here's a brief overview.

You will need:
- a piezo buzzer, or it might be called a piezo transducer, 2 to 3cm in diameter (from your local electronics shop)
- some shielded hookup wire (from somewhere like stewmac.com, or your local electronics shop)
- a female 6.35mm cable mount jack socket (I used this one. Well, actually I used a cheap one from the local electronics shop initially, but you'll see why I switched it out later...)
- a soldering iron
- a hot glue gun
- some velcro cable ties
- a banjo that looks like it's keen to be a hundred times louder than it currently is.

First you need to carefully open up the housing of the buzzer to get at the piezo element inside. The element is a shiny disc, and it's easy to bend it and wreck it.
Here's what the buzzer looked like to start with:

The specs are here.

I used a craft knife to cut away the black plastic housing, being careful not to cut my fingers off, because I knew I'd need them for the next phase.

Foolishly, I forgot to take a photo of what the piezo element looked like when I got it out. Here's what it looks like now it's installed.

Heh heh.. a lot of it is now hidden under a lump of hot glue, but you can see there's a silvery coating, and that's what the red and black hookup wires were soldered to. I de-soldered them, and then soldered on a length of my own hookup wire. The silvery part is divided in two (on my buzzer it was anyway). One slightly smaller than the other. I soldered the hot wire to the larger part and the ground to the smaller part. I don't know why, it just seemed right to me.

Make sure you figure out how long you want the wire to be - i.e. how far does it need to go to mount your output jack where you want it.
I left a little play in mine because I'm pretty good at misjudging things like that.
I took up the extra slack with a little bit of "Musician's Friend" (gaffa tape) around the banjo's tension rod.


As I said earlier, I initially used a cheap jack but after soldering it up and testing it, there was a horrible crackle whenever I moved around, and that kind of thing can make you want to burn a banjo, so I shelled out a hefty amount of dough for a fancier Neutrik jack. Well, they said it was a Neutrik, but when it arrived it was a "licenced by Neutrik" jack. Either way, it was much better quality.


Because I'm an idiot, I glued the piezo element onto the underside of the banjo head before I had soldered the jack on. This makes it much more awkward, and soldering is awkward enough already. So, if possible, measure it all up and solder the jack and the piezo disc on first, then glue the element to the banjo.

On my old banjo I cut the piezo element in half and put one either side of the bridge, but I found that this single element right in the middle, slightly back from the bridge, works fine.

Picking up my trusty glue gun again, I glued two velcro ties to the jack, and secured the jack to two of the banjo's tension hoops.


Using velcro ties means that, unlike my last installation, this one is easily reversible.

Finally I could put the resonator back on the banjo, and fire it up through an amp.

How does it sound? Like a big, loud, scratchy banjo!

Actually, with a bit of EQ, and/or a proper acoustic preamp, this would be pretty decent. Really, it's all you're getting if you buy a fancier piezo pickup, it's just they've done all the assembling for you, and perhaps made it a nicer shape or something.

Straight into an electric guitar amp it's always going to sound bad because they're not made for this kind of thing.
But I'll be using it through a PA, with an EQ pedal and a volume pedal, and that should be fine.

I'll try to record some audio samples soon and post them here.

Happy DIY-ing!
Bing

Friday, May 19, 2017

Second 'Heavy Blarney' album in pre-production

That means 'Bing is trying to get his act together and write some songs for the next Heavy Blarney album'. Recording is scheduled for later this year, hopefully the album will be ready for Christmas!


In other news, work on the sequel to 'The Musomancer' book is slow. Soooo slow. But I was recently kicked into action when I saw this:
What's this? Could it be that they're trying to cover up the entrance to the evil Musomancer's lair? Obviously the book has put the scares up a few people - perhaps those who are part of a musomancical conspiracy...? I will do my best to find out what's happening, and write a fairly silly book about it.

The first Musomancer book is available here, and local luminary Paul Turner says it's the best book he's read all year. He's also man enough to admit that it's the only book he's read all year. That's The Musomancer for you - increasing literacy in the community!

And let's not forget that the latest Bing Turkby Ensemble album is available here. Simon J Crawford says "Bing Turkby what have you done? I can't recall ever hearing anything as original ,honest and down right entertaining as this album." (Since you're reading this, go check out Simon's album here. It's blimmin' great!)

OK, well, keep on being awesome, you lot.

Bing

Andy Anderson 'Andersongs' CD review

For many years I've been reviewing CDs for NZ Musician Magazine. Recently I was asked to review a CD under my own aegis. Here be the results:


Andy Anderson's latest album 'Andersongs' kicks off with an exuberant whoop of a song called Hey I'm Alive, which sets the tone both musically and lyrically. It's a real celebration of life, full of self-deprecating humour (“An ageing wino hippy, quite a few brain cells short”), but with a message of rangimarie and kotahitanga (“Still pushing that peace/love trip. Just because we got stoned and missed it, doesn't mean that the plan was wrong.”) That first song has a great, jammy rock feel. The next one up, Spirit of Parihaka, leans into reggae territory, with a cruisy backbeat and swooning slide guitar. But the lyrical theme of living peacefully with one another is there again (“May the healing of the White Feather pass from hand to hand.”) The whole album is permeated with Andy's mellow, 'let's all be cool to each other' persona.
With Hayden Lauridsen on drums and Adrian Fou on bass, the rhythm section is tight and swinging. Jeff Carr lets rip with some fiery yet tasteful guitar solos. Not an easy feat! Backed by this team, the cream of Palmy rock musicians, Andy plays guitar and harmonica, and his singing takes flight, his voice loaded with life experience.
The guitar playing of Bruce 'Phantom' Robinson is shot through the album like a golden thread. Andy pays tribute to him on All Rise (Phantom's Song). Sadly, Phantom did not live to see the album completed, but his playing lives on in 'Andersongs', as the rest of the band weave their music around his contributions.
Anderson touches on other topics, such as politics (Politricks), the Pike River Mine, and even ends with a heartfelt tribute to his mother. It's a very personal album that was recorded and mixed with real empathy by Nigel Mauchline at Palmerston North's iconic recording/rehearsal/performance venue The Stomach. The sound is polished and professional, yet the album still feels intimate and confessional.

From acoustic ballads to country to swaggering rock, Dr John-style scat to Marley-style reggae, Anderson and his merry crew lead you on a journey through Andy's memories, and leave you with his hopes for the future. Let's hope that Andy surprises us, and maybe himself, with another album soon! As the man himself says: “Outlived my hair, my brain and teeth... If music's the last part of the brain to leave, I'll keep on singing till I'm through”.

Wednesday, February 1, 2017

Musomancical goings-on

Howdy!
Well, we did it!
To celebrate the 20th year of the Bing Turkby Ensemble (1996-2016), we managed to release a new album (Atlantean Night Tourists), recorded by the auditory genius Nigel Mauchline at The Stomach in Palmy (with extra noise added at TurkbyTone Rekkids Studio B for Bing).
Me, MacDeth, McBOOOm and Tyrone T. Blowhard are extremely happy with the results, and also with the great artwork perpetrated by William Bennett.

The website - turkby.co.nz - just got a makeover by web maestro Andrew Tregonning, so now the site is really tidy and uncluttered, and works better on mobile devices too.

On top of that, I wrote a book called The Musomancer, which you can get hold of as either an e-book or a p-book at the Amazon link, or you can buy the physical book at Paper Plus nationwide in Aotearoa, and it's also at Groovylicious on George Street and at Begg's on Albert Street, both of those latter places are in Palmy.

Time for a rest? Well... I think it's time for another Heavy Blarney album actually! And I have a couple thousand words done on the sequel to The Musomancer.

Too much fun!

I hope you're all happy and safe, best wishes from everyone at TurkbyTone Rekkids.