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Song Surgeon Professional – Version 4, Review by Eric Parsons
Song Surgeon Professional – Version 4
This month I am reviewing Song Surgeon, another software product from TMJ, Inc. Song Surgeon provides the user/musician with a multitude of software tools that will aid in the process of learning and transcribing songs.
Getting Started
Song Surgeon software is available for both Windows and Mac operating systems. The Windows version has recently upgraded to version 4 while the Mac version is currently at version 3. The software was delivered digitally and was easy to install and activate on my machine, with no complications or rigorous security processes. Once installed, the user is provided with an exceptional amount of support documentation in the form of : a quick start guide, a user guide, a large selection of training videos and a help desk.
I find the main GUI to be well laid out with an intuitive design. A song can be loaded by opening an audio file already stored on the computer hard drive, by ripping a file from a CD or by using the “Sniffer” – which allows the user to extract the audio from an internet video site such as Youtube.
I find the upgraded Sniffer to be one of the most innovative and useful tools included in the Song Surgeon package. While reviewing this product, I was offered a corporate function gig that required me to learn a couple dozen old-school tunes in a rather short time frame. Some of the tunes were obscure and the bandleader also specified renditions by specific artists. With the Sniffer, I was able to quickly locate the material I needed to get the job done. The Youtube Sniffer simply requires that the user copy and paste the URL for the relevant video and then the Sniffer extracts the audio and converts it to a .WAV file for use with Song Surgeon.
In Use
Once a song is loaded into Song Surgeon, it’s simply a matter of pushing the play button and then setting the start and end loop points in order to focus in on learning a desired passage. I like to set the loop points in real time and then, if needed, I will go back and refine the loop placement by zooming in on the wave image to make adjustments
If you lean toward making numerical adjustments, simply select the edit button to fine tune your parameters.
The user can readily adjust the tempo and pitch of the entire song or the selected loop by using slider controls, selecting preset numerical values or by clicking on the available plus or minus buttons for these parameters.
I have also found the pitch function to be a real lifesaver when dealing with older tunes that were not recorded at concert pitch ( with the A note at 440 HZ).
Loop 1 – Pitch Shift Up a Third
Loop 1 – Slowed to 75%
Version 4 Upgrades
Version 4 has added some upgrades that I find to be quite convenient. When opening a file, the user can now quickly navigate to “Recently Opened Files” which greatly speeds up the process of accessing files that may be stored in different locations on your hard drive. There is also a Loop Bypass button which allows the user to toggle between playing a specific loop or the entire song without loosing the loop settings. The user now has access to a 31 band graphic equalizer to enhance or de-emphasize selected frequencies.
Loop 1 – Flat
Loop 1 – Bass Enhance
Additional Functions
At this point, I have covered the functions that I commonly use to learn songs with Song Surgeon. There are, however, several more tools and functions that are available to the user.
Some of the other additional functions include:
- saving a song as a project
- exporting: loops, the entire song or even a Song Surgeon Project
- audio file conversion of multiple songs via a batch file process
- the ability to record audio information/notes in sync with the song file
- comprehensive editing of the song file
- production and editing of song markers
- vocal reduction in a song file
- the ability to produce musical notation and notes using the Music Pad function
In Conclusion
I find Song Surgeon to be an extremely useful tool for any musician who needs to transcribe musical parts, particularly when on a short time frame. At the time of writing this article the MSRP of Standard and Pro versions of Song Surgeon were $69.00 and $99.00 respectively, but were being offered at a sale price of $55.20 and 79.20.
For more information, or to download a fully functional demo go to : Song Surgeon
Bass Videos
Interview With Bassist Erick “Jesus” Coomes
Bassist Erick “Jesus” Coomes…
It is always great to meet a super busy bassist who simply exudes a love for music and his instrument. Erick “Jesus” Coomes fits this description exactly. Hailing from Southern California, “Jesus” co-founded and plays bass for Lettuce and has found his groove playing with numerous other musicians.
Join us as we hear of his musical journey, how he gets his sound, his ongoing projects, and his plans for the future.
Photo, Bob Forte
Featured Videos
Visit Online
www.lettucefunk.com
IG @jesuscsuperstar
FB@jesuscoomes
FB @lettucefunk
Bass Videos
Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians
Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians
“These stories from the front are with real-life, day-to-day musicians who deal with work life and gigging and how they make it work out. Each month, topics may include… the kind of gigs you get, the money, dealing with less-than-ideal rooms, as well as the gear you need to get the job done… and the list goes on from there.” – Steve the Bass Guy and Shawn Cav
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This Week’s Top 10 Basses on Instagram
Check out our top 10 favorite basses on Instagram this week…
Click to follow Bass Musician on Instagram @bassmusicianmag
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Bass CDs
New Album: Jake Leckie, Planter of Seeds
Bassist Jake Leckie and The Guide Trio Unveil New Album Planter of Seeds,
to be released on June 7, 2024
Planter of Seeds is bassist/composer Jake Leckie’s third release as a bandleader and explores what beauty can come tomorrow from the seeds we plant today.
What are we putting in the ground? What are we building? What is the village we want to bring our children up in? At the core of the ensemble is The Guide Trio, his working band with guitarist Nadav Peled and drummer Beth Goodfellow, who played on Leckie’s second album, The Guide, a rootsy funky acoustic analog folk-jazz recording released on Ropeadope records in 2022. For Planter of Seeds, the ensemble is augmented by Cathlene Pineda (piano), Randal Fisher (tenor saxophone), and Darius Christian (trombone), who infuse freedom and soul into the already tightly established ensemble.
Eight original compositions were pristinely recorded live off the floor of Studio 3 at East West Studios in Hollywood CA, and mastered by A.T. Michael MacDonald. The cover art is by internationally acclaimed visual artist Wayne White. Whereas his previous work has been compared to Charles Mingus, and Keith Jarrett’s American Quartet with Charlie Haden, Leckie’s new collection sits comfortably between the funky odd time signatures of the Dave Holland Quintet and the modern folk-jazz of the Brian Blade Fellowship Band with a respectful nod towards the late 1950s classic recordings of Ahmad Jamal and Miles Davis.
The title track, “Planter of Seeds,” is dedicated to a close family friend, who was originally from Trinidad, and whenever she visited family or friends at their homes, without anyone knowing, she would plant seeds she kept in her pocket in their gardens, so the next season beautiful flowers would pop up. It was a small altruistic anonymous act of kindness that brought just a little more beauty into the world. The rhythm is a tribute to Ahmad Jamal, who we also lost around the same time, and whose theme song Poinciana is about a tree from the Caribbean.
“Big Sur Jade” was written on a trip Leckie took with his wife to Big Sur, CA, and is a celebration of his family and community. This swinging 5/4 blues opens with an unaccompanied bass solo, and gives an opportunity for each of the musicians to share their improvisational voices. “Clear Skies” is a cathartic up-tempo release of collective creative energies in fiery improvisational freedom. “The Aquatic Uncle” features Randal Fisher’s saxophone and is named after an Italo Calvino short story which contemplates if one can embrace the new ways while being in tune with tradition. In ancient times, before a rudder, the Starboard side of the ship was where it was steered from with a steering oar. In this meditative quartet performance, the bass is like the steering oar of the ensemble: it can control the direction of the music, and when things begin to unravel or become unhinged, a simple pedal note keeps everything grounded.
The two trio tunes on the album are proof that the establishment of his consistent working band The Guide Trio has been a fruitful collaboration. “Santa Teresa”, a bouncy samba-blues in ? time, embodies the winding streets and stairways of the bohemian neighborhood in Rio de Janeiro it is named for. The swampy drum feel on “String Song” pays homage to Levon Helm of The Band, a group where you can’t always tell who wrote the song or who the bandleader is, proving that the sum is greater than the individual parts. Early jazz reflected egalitarianism in collective improvisation, and this group dynamic is an expression of that kind of inclusivity and democracy.
“The Daughters of the Moon” rounds out the album, putting book ends on the naturalist themes. This composition is named after magical surrealist Italo Calvino’s short story about consumerism, in which a mythical modern society that values only buying shiny new things throws away the moon like it is a piece of garbage and the daughters of the moon save it and resurrect it. It’s an eco-feminist take on how women are going to save the world. Pineda’s piano outro is a hauntingly beautiful lunar voyage, blinding us with love. Leckie dedicates this song to his daughter: “My hope is that my daughter becomes a daughter of the moon, helping to make the world a more beautiful and verdant place to live.”
Bass CDs
Debut Album: Nate Sabat, Bass Fiddler
In a thrilling solo debut, bassist Nate Sabat combines instrumental virtuosity with a songwriter’s heart on Bass Fiddler…
The upright bass and the human voice. Two essential musical instruments, one with roots in 15th century Europe, the other as old as humanity itself.
On Bass Fiddler (Adhyâropa Records ÂR00057), the debut album from Brooklyn-based singer-songwriter and bass virtuoso Nate Sabat, the scope is narrowed down a bit. Drawing from the rich and thriving tradition of American folk music, Sabat delivers expertly crafted original songs and choice covers with the upright bass as his lone tool for accompaniment.
The concept was born a decade ago when Sabat began studying with the legendary old-time fiddler Bruce Molsky at Berklee College of Music. “One of Bruce’s specialties is singing and playing fiddle at the same time. The second I heard it I was hooked,” recalls Sabat. “I thought, how can I do this on the bass?” From there, he was off to the races, arranging original and traditional material with Molsky as his guide. “Fast forward to 2020, and I — like so many other musicians — was thinking of how to best spend my time. I sat down with the goal of writing some new songs and arranging some new covers, and an entire record came out.” When the time came to make the album, it was evident that Molsky would be the ideal producer. Sabat asked him if he’d be interested, and luckily he was. “What an inspiration to work with an artist like Nate,” says Molsky. “Right at the beginning, he came to this project with a strong, personal and unique vision. Plus he had the guts to try for a complete and compelling cycle of music with nothing but a bass and a voice. You’ll hear right away that it’s engaging, sometimes serious, sometimes fun, and beautifully thought out from top to bottom.”
While this record is, at its core, a folk music album, Sabat uses the term broadly. Some tracks lean more rock (‘In the Shade’), some more pop (‘White Marble’, ‘Rabid Thoughts’), some more jazz (‘Fade Away’), but the setting ties them all together. “There’s something inherently folksy about a musician singing songs with their instrument, no matter the influences behind the compositions themselves,” Sabat notes. To be sure, there are plenty of folk songs (‘Louise’ ‘Sometimes’, ‘Eli’) and fiddling (‘Year of the Ox’) to be had here — the folk music fan won’t go hungry. There’s a healthy dose of bluegrass too (‘Orphan Annie’, ‘Lonesome Night’), clean and simple, the way Mr. Bill Monroe intended.
All in all, this album shines a light on an instrument that often goes overlooked in the folk music world, enveloping the listener in its myriad sounds, textures, and colors. “There’s nothing I love more than playing the upright bass,” exclaims Sabat. “My hope is that listeners take the time to sit with this album front to back — I want them to take in the full scope of the work. I have a feeling they’ll hear something they haven’t heard before.”
Available online at natesabat.bandcamp.com/album/walking-away