Hey everyone, sorry I've been quiet for a while, been working on a new project with amazing pop/prog singer Joe Payne: https://www.thatjoepayne.com
The prog nerds may know him as former singer for The Enid and he's now writing very cool orchestral pop songs in the Queen vein. We're playing a couple of shows in London at Simon Drake's (him off of the telly) House of Magic and I'm really psyched about it, it's going to be proper high concept stuff, a big story and plenty of projections and illusions to tell it. We're still drawing lots for which member of the band gets sawn in half
We've shot a couple of rehearsal videos, one of his first single "I Need A Change" and one of the B-side "Moonlit Love", a re-imagining of the Moonlight Sonata:
Of anyone is in London on 9/10 November it would be really cool to see you!
Because this is KC, I'm playing all the orchestral parts and being the "stunt pianist" for some of the trickier bits, or when Joe is being the front man. All my sounds are coming from my PC3K8, mostly the stock string/orchestral patches with a few tweaks. I have a Roland A-50 with a TEControl Breath Controller for the wind and brass lead lines, controlling the Kurzweil. Funnily enough, Joe's piano is an old Micro Piano module so we're all Kurz in the keys department! It sounds lovely. We're running a backing track with some of the backing vocals (Joe has a 5-octave range and his studio tracks typically have 50-100 up tracks - none of us can sing that!), the sub bass and various bits of ear candy. It's also spitting out MIDI to an off-stage VP-330 hooked up to the drummer's mic so he can sing the choir parts live. It's a truly amazing sound when it all comes together!
Thanks, I enjoyed that very much. The guy has a great voice and the material is cool. I think they’re fortunate to have you. You’re expressive playing makes the music shine. And, your gear sounds great. Bravo!
Thanks Rudy. As it's such dynamic music, we've all based our rigs around making the nuances as easy to capture as possible. The only moving air in our setup is the vocal mics and drum overheads and everyone is on IEMs so we're all very tuned-in to the subtleties of our and everyone else's playing, and we want to make it as easy as possible for our engineer to get good sound!