Shueh-li Ong: A Well-oriented Misorientation

Saggini: Absolutely! Seeing you at a concert in Italy would be fantastic! But speaking of studio work, I would like to ask you again the same question that I asked you the last time, let’s not say how many years ago, and that is what equipment you used regarding synths, effects for the theremin, other instruments and software.

Ong: I have been designing my version of the “lite-pack in-box system” for solo gigging and that also fits my traveling lifestyle for the longest time now. The current “in the box” system I take everywhere as basics for stage and studio, consists of my MacBookPro M1 Max, Logic Pro, and the Focusrite Scarlett interface. I use a MIDI KB controller in the States, and a semi-weighted MIDI-enabled synth in Singapore.
As mentioned previously, I design and write for live performance in mind, even as I carve out the beauty in the composition. I work primarily with softsynths in Logic Pro, but rarely use these without extensive programming as I love creating new voices. Synth lines using these sounds are thoughtfully written and programmed for specific performance results in the studio to include a little performance drama for live work. This preprogrammed performance device, commonly known as extended synth techniques, involves playing methods that integrate with assignable MIDI controllers, allowing the synth player real-time control over any sonic parameter. I have created youtube tutorials to share a few I use.

For MissOM4, sound design work included recorded samples of my finger snaps and claps in Calor track#4, and a Logic Pro Sampler instrument created from Brian’s bass line to generate the bass part in Dittee (from track#1). Sound design work also appears in the intro and outro sections of Calor, where Dean’s acoustic and electric guitar parts were manipulated to adhere to a story-line. In Hubris track#2, I beefed up the snare and kick parts by doubling them with MIDI drums garnered through an analog-to-MIDI conversion of the originals. I could write a mini thesis on all the tricks employed on the production side!

I’ve been touring and recording with the Etherwave that Bob Moog modified for me as I use the volume antennae inverted. I carry power cords for both 110 and 240 voltages. It would be nice to have just the one universal power supply.
My initial experiments with effects on the theremin were with foot pedals mainly but these were subsequently adapted to work with the plugins available in Logic Pro and also with Mainstage; Logic Pro’s live performance companion.

I am well versed with the analog and digital worlds, and live sound reinforcement to be able to adapt accordingly and get what I need out of my tools for in-studio or live work.

Saggini: I really appreciated the microtonal music experiment in “MicroTunneling.” Micro-tonality with the theremin has been discussed since Léon Theremin was in the United States in the 1920s, but, alas, not much has been done about it, with essential but rare exceptions. You say you were pushed in this direction by a question you received at a workshop. Why hadn’t you done it before? Moreover, the result was decidedly satisfactory.

Ong: The most crucial technique majority of thereminists practice to achieve is the precision in landing on the spot in the approach to each note; so they are in tune on the Attack portion of the ADSR. The opposite would mean they are playing “badly”.

At a certain point in my experimentation, it came to me that we needed to acknowledge in written music that the theremin has a natural inclination toward glissandi lines. This inclination could be additionally made more useful by climbing in between the cracks of semitones; finding that ¼ tone position, so to speak.
I had given a workshop to the Electronic Music Studios of the National University of Singapore a few years ago, where I was demonstrating my programming methods for live performance on the synth and theremin. During the Q&A session, I was asked if I’d worked in microtonal modes. Since this person was not a theremin player, they might not have fully grasped the challenges I mentioned earlier of staying in tune on the instrument.
Microtonality is a practice that dates back to the 1910’s. But not in written works for the theremin, as far as I am aware of.

Recently, I had to explain how one of my compositional devices worked, and it goes something like this; that a new device must be observed and acknowledged before its statement is recognised.

To make the microtonal device obvious to the listener, it had to appear many times in the composition, with each repetition accurately duplicating the previous. So that it is observed to be deliberate and not a fluke. With ¼ tones, I made sure the articulation was similar even if different notes and timbres were utilized. I hope that makes sense.

I have recently been experimenting with ATMOS and immersive sound for live performance using SoundScape, and have begun to implement these technologies to MissOM4. With that said, I am also looking forward to my next album adventure, and any assignments to write music for others.

I’d be most honoured if I could, for the opportunity to share my work with other thereminists; to offer original work for them to play if they wish to venture beyond the classical standards.

Saggini: Writing music for others is new to you, or have you done it before? I assume you’re not necessarily referring to theremin music. Speaking of which, it would be great if other thereminists performed your theremin music. And the other way around, of course. Theremin music written by thereminists for other thereminists. I wonder if that’s possible since the hallmark of our era is the extreme atomization of human beings. Have you ever collaborated with fellow thereminists?

Ong: Although I have arranged music for bands and orchestras in the past, including some of my own compositions, I have primarily written pieces for myself to perform, along with parts for other musicians playing my works. Writing for another thereminist would necessitate being attentive to and empathetic of their individual techniques, as there is currently no standardised performance style or notation for the theremin, aside from the obvious dos and don’ts.

My theremin playing does appear on the albums of other artists/projects though, such as Tom Brislin’s solo album, an indie sci-fi video series, and most recently *Fito Páez’s album La Conquista del Espacio, which won 2 Grammys.
I have performed with other thereminists on rare occasions, but I have never collaborated on new music. My main goal has been to create album-ready arrangements that I could perform at any live music venue to attract an audience and build a fanbase to share my work with.
This body of work exists in the 5 albums and numerous singles released. I chose to promote myself by playing original music, though like many musicians, I started out in the cover-band scene, but I wasn’t playing the theremin back then (laughter)! That said, I have arranged covers of popular songs featuring the theremin.

I’ve been fortunate that in the process of accomplishing my mission, many venues have taken a chance on an artist without a cover-song repertoire and with a “strange” instrument to boot! The Grapevine Opry in Texas was one. They invited me to perform on their 21st Anniversary Show, so I wrote a country music song just for this occasion. This song “Sweet Talker” can be found on my 4th album “A Working Title”, where you’ll discover the theremin playing a solo in the bridge section.

It has taken a long time, but I have finally completed an album’s worth of music with many tracks presenting the theremin in the lead role, suitable for radio play. Ensuring that the compositions carry a “cool” factor, and that my theremin performances are engaging enough to hold listeners’ attention and keep them from hitting the OFF button—if you know what I mean!
The theremin is still considered too esoteric to be a lead instrument in any type of rock/pop music arena. However, with MissOM4, I believe I have successfully placed it in that realm. Baby steps!

Kev Rowland, author of The Progressive Underground series of books, had this to say of MissOM4 on ProgressorNet, “It is rare for me to come across an album which is totally unlike anything else I have ever heard … Due to my ears not being used to either the musical style or the instrument (theremin), I have no idea whatsoever where this music is going to lead and consequently found myself quite enamoured in the way it developed. This is an interesting album which is definitely pushing the progressive boundaries”.

I consider myself first and foremost a composer/producer and synthesist writing for the instruments I play. This spurs me on to create new sounds, arrangements and performance techniques.
With that said, I’d like to offer my services as a composer for other artists, bands, and ensembles, and thereminists looking for original material that might fit their unique character and style!

Thank you Valerio, for the opportunity to discuss my work and my album MissOriented Metaphor.

MissOriented Metaphor was released on 29th June ‘24, is currently available on Shueh-li Ong. Bandcamp.com and major distros.

Shueh-li Ong runs the YouTube channel Oceanachine.