David Emm Posted January 29, 2020 Share Posted January 29, 2020 Bryce, you're making me squirm with Vintage Overload here. The funny thing is, my first real awareness of Michael was from his titanic synth bits with Randy Newman. Yes, I had "The Magic Egg" Soundpage and embraced "Buckaroo Bonzai," but those wild, wailing synth stabs on "Its Money That I Love" were arresting. I've heard tales of the odd layering that sometimes went on with classic songs and that sounds like one example. It was a great boost to my interest in synths. Very fine work overall, Michael. May I come and use a tiny computer vac on all of your gear? I'll wear a surgical mask and I promise not to sing any Aerosmith stuff while I do it, swear to Moog. Quote "I like that rapper with the bullet in his nose!" "Yeah, Bulletnose! One sneeze and the whole place goes up!" ~ "King of the Hill" Link to comment Share on other sites More sharing options...
ChiefDanG Posted January 30, 2020 Share Posted January 30, 2020 O... M... G...! Quote Professional musician = great source of poverty. Link to comment Share on other sites More sharing options...
mate stubb Posted January 30, 2020 Share Posted January 30, 2020 What's with all the bungee cables? Earthquake protection? Quote Moe --- Link to comment Share on other sites More sharing options...
Dave Bryce Posted January 30, 2020 Author Share Posted January 30, 2020 What's with all the bungee cables? Earthquake protection? Probably. dB Quote ==> David Bryce Music • Funky Young Monks <== Link to comment Share on other sites More sharing options...
ksoper Posted January 30, 2020 Share Posted January 30, 2020 My goodness. This has been a real trip. Thank you dB and Michael. Quote 9 Moog things, 3 Roland things, 2 Hammond things and a computer with stuff on it Link to comment Share on other sites More sharing options...
GRollins Posted January 30, 2020 Share Posted January 30, 2020 Okay, so he's got a Durawowsler 9000xrz synth in the attic in one of those racks. He decides that he needs it downstairs for a current project because it has a unique sound. How the devil does he move it? Those racks are obviously on wheels, but they'll weigh a couple hundred pounds each, minimum. Does he have a freight elevator? Grey Quote I'm not interested in someone's ability to program. I'm interested in their ability to compose and play. Link to comment Share on other sites More sharing options...
marino Posted January 30, 2020 Share Posted January 30, 2020 Thanks for the videos, especially the Omoto/Ondes Martenot bit. Ondes is one of my all time favorite keyboards. The attic... what one can say. *Two* Fairlights........ ......and 49 accordions.....!! Quote Link to comment Share on other sites More sharing options...
ksoper Posted January 30, 2020 Share Posted January 30, 2020 Okay, so he's got a Durawowsler 9000xrz synth in the attic in one of those racks. He decides that he needs it downstairs for a current project because it has a unique sound. Grey He doesn't have to move it because Arturia's Durawowsler 9000XRZV sounds exactly like it. Quote 9 Moog things, 3 Roland things, 2 Hammond things and a computer with stuff on it Link to comment Share on other sites More sharing options...
Markyboard Posted January 30, 2020 Share Posted January 30, 2020 Everyone of these pieces seems to have a story from a guy that actually used them and knows them inside and out. Anyone with money can collect shit but this is really impressive on a whole other level. Quote Link to comment Share on other sites More sharing options...
Mike Martin Posted January 30, 2020 Share Posted January 30, 2020 Everyone of these pieces seems to have a story from a guy that actually used them and knows them inside and out. Anyone with money can collect shit but this is really impressive on a whole other level. I've had the privilege of taking this tour two times before. All the stories were different than these. We're just scratching the surface. Quote -Mike Martin Casio Mike Martin Photography Instagram Facebook The Big Picture Photography Forum on Music Player Network The opinions I post here are my own and do not represent the company I work for. Link to comment Share on other sites More sharing options...
Tusker Posted January 30, 2020 Share Posted January 30, 2020 Yes the equipment is a treasure but so are the stories. Love it dB! Quote Link to comment Share on other sites More sharing options...
MAJUSCULE Posted January 30, 2020 Share Posted January 30, 2020 Everyone of these pieces seems to have a story from a guy that actually used them and knows them inside and out. Anyone with money can collect shit but this is really impressive on a whole other level. So true. Quote Eric Website Gear page Link to comment Share on other sites More sharing options...
Doerfler Posted January 30, 2020 Share Posted January 30, 2020 Boom. Boom indeed. Quote Link to comment Share on other sites More sharing options...
Nathanael_I Posted January 30, 2020 Share Posted January 30, 2020 What is also interesting about this is to think about how music making has changed over his career. He built those racks to meet a very specific commercial need. I presume he needed to show up to a very expensive session in a very expensive room filled with very expensive people and provide "any sound that was needed". And so, having "one of everything" and "ability to get at any sound immediately" meant building these racks with literally one of everything then available. Today, most of what those racks deliver would be done with software. There might not be any "one room", but a ProTools session file sent around to several people to overdub on. Even knowing synthesis is not confined to a very select few - most composers have to know how to do decent synth work, or they hire sound-designers to make custom presets for their synths just for a single show or gig. I also wonder if there is so much gear available now that it wouldn't even be possible to show up with "one of everything" in that way. I do know that guitarists of that time had the big Bradley switching systems and all the racks for the same reason. I'm not close to the LA session scene but it seems that a lot of those guys now send in tracks from very well-specified home studios with amp rooms and such. So there's probably a really interesting story around how he has seen music production evolve and how that informs what is in the attic vs. other places. Quote Link to comment Share on other sites More sharing options...
KuruPrionz Posted January 30, 2020 Share Posted January 30, 2020 My tiny brain burst into flames!!!! Quote It took a chunk of my life to get here and I am still not sure where "here" is. Link to comment Share on other sites More sharing options...
The Real MC Posted January 30, 2020 Share Posted January 30, 2020 Dmmt nw th vwls dnt wrk n my kybrd Quote Link to comment Share on other sites More sharing options...
David Emm Posted January 30, 2020 Share Posted January 30, 2020 What is also interesting about this is to think about how music making has changed over his career. He built those racks to meet a very specific commercial need. I presume he needed to show up to a very expensive session in a very expensive room filled with very expensive people and provide "any sound that was needed". And so, having "one of everything" and "ability to get at any sound immediately" meant building these racks with literally one of everything then available. Today, most of what those racks deliver would be done with software. There might not be any "one room", but a ProTools session file sent around to several people to overdub on. Even knowing synthesis is not confined to a very select few - most composers have to know how to do decent synth work, or they hire sound-designers to make custom presets for their synths just for a single show or gig. I also wonder if there is so much gear available now that it wouldn't even be possible to show up with "one of everything" in that way. As always, Depends On The Gig. You're more right than not about software, but I rarely encounter anyone who doesn't have some of both. Form follows function but in our case, also back and forth between the two. That's what the new Pro3 seems to be about, as an example. I'm grateful to be ABLE to mouse my way through a composition, but its obviously a different thing from laying hands on real keys. They tend to feed one another for me. Being a synthesist means being a bit restless. There's no end to the options and likewise, no end to our desire to use the new paint. KCers have owned enough hardware to nod along with Michael as he describes the many sweet-spot moments. Its simply the case now that you can buy a hardware synth that's like four in one and a software synth that's like twelve. I'm already up to five after just a month with Arturia's Pigments. I laughed at his comments about antique data being preserved for antique instruments. I had a box of Mirage floppies that was a back breaker. Quote "I like that rapper with the bullet in his nose!" "Yeah, Bulletnose! One sneeze and the whole place goes up!" ~ "King of the Hill" Link to comment Share on other sites More sharing options...
Doerfler Posted January 31, 2020 Share Posted January 31, 2020 I've had the privilege of taking this tour two times before. All the stories were different than these. We're just scratching the surface. So, Mike or dB, or anyone else who has been there, is there a freight elevator? How does all this gear possibly end up in an attic? Quote Link to comment Share on other sites More sharing options...
Dave Bryce Posted January 31, 2020 Author Share Posted January 31, 2020 I only saw stairs. dB Quote ==> David Bryce Music • Funky Young Monks <== Link to comment Share on other sites More sharing options...
nursers Posted January 31, 2020 Share Posted January 31, 2020 Such amazing videos thanks DB! Quote The Keyboard Chronicles Podcast Check out your fellow forumites in an Apple Music playlist Check out your fellow forumites in a Spotify playlist My Music: Stainless Fields Link to comment Share on other sites More sharing options...
Mike Warren Posted January 31, 2020 Share Posted January 31, 2020 I still remember Keyboard Magazine's enclosed vinyl of "The Magic Egg." I remember recording that to a cassette tape. I wonder if I still have it. Quote DigitalFakeBook Free chord/lyric display software for windows. Link to comment Share on other sites More sharing options...
MLehBod Posted January 31, 2020 Share Posted January 31, 2020 Thank you David! Those are very kind words. Best, MLB/MLehBod Quote Link to comment Share on other sites More sharing options...
MLehBod Posted January 31, 2020 Share Posted January 31, 2020 Dave, we carried all the gear up the stairs-even the Studer 800. Refrigerator dolly and three strong guys- one on top/two lifting from bottom. As in most things: one step at a time. Quote Link to comment Share on other sites More sharing options...
MLehBod Posted January 31, 2020 Share Posted January 31, 2020 Mike, i still have copies if you don't find it. AND am in process of reprinting from original masters to digital SACD quality. Quote Link to comment Share on other sites More sharing options...
MLehBod Posted January 31, 2020 Share Posted January 31, 2020 Very insightful Nathaniel. Not quite sure about the multiplier on the software vs hardware. Has anyone done a true audio comparison between the two? Quote Link to comment Share on other sites More sharing options...
MLehBod Posted January 31, 2020 Share Posted January 31, 2020 Bryce, you're making me squirm with Vintage Overload here. The funny thing is, my first real awareness of Michael was from his titanic synth bits with Randy Newman. Yes, I had "The Magic Egg" Soundpage and embraced "Buckaroo Bonzai," but those wild, wailing synth stabs on "Its Money That I Love" were arresting. I've heard tales of the odd layering that sometimes went on with classic songs and that sounds like one example. It was a great boost to my interest in synths. Very fine work overall, Michael. May I come and use a tiny computer vac on all of your gear? I'll wear a surgical mask and I promise not to sing any Aerosmith stuff while I do it, swear to Moog. David, permission to come aboard. Pretty clean though so it"ll be easy work. And i love Aerosmith. And singing. Quote Link to comment Share on other sites More sharing options...
MLehBod Posted January 31, 2020 Share Posted January 31, 2020 Moe, the bungees are indeed to help keep things in place. Larger gear storage structures are tied/bolted to posts and beams and each other. The house was strapped upper story to lower story and side to side on all ten corners plus all interior corners. All joists are on hangers AND nailed. Grade beams and footings go down seven feet. 36 engineered beams throughout the entire house. Many times two bolted together. The interior studio wall system is floated on machine rubber (even the red caps on the sill plate are grommeted w asc isolators) and iso hangers so it never touches the exterior. The iso room is a double walled room surrounded by double walled rooms. Large speakers/JBL Screen Array 3way behind the theater screen are secured with ratcheted tie down straps. In the coming big earthquake the racks are probably going to roll. The percussion tchotchkes may be on the floor. In 1994 my C7F moved five feet across the living room. But that was Northridge"s double whammy bouncing off the Sherman Oaks side of the Sta Monica Mtns granite. Encino was not hit nearly as bad. Quote Link to comment Share on other sites More sharing options...
Nathanael_I Posted January 31, 2020 Share Posted January 31, 2020 Very insightful Nathaniel. Not quite sure about the multiplier on the software vs hardware. Has anyone done a true audio comparison between the two? Oh, I think there have been many, many comparisons. (old hardware pretty much always wins for character, but many sounds are very, very close). I know that I don't consider software a substitute for my 5 hardware synths. I enjoy my hardware, and there are definitely composers like Hans Zimmer who maintain that only U-He's Zebra can stand up properly on bass patches when using cinema sound systems on the software size. He prefers hardware synths for that purpose. I think for me, the hardware is wonderful, but so is software. Having full recall as soon as I open the session, being able to spawn multiple copies of the same synth... Having audio render at faster than real-time... And space... My room is not as accomplished yet as yours, but it is full of special things. I think what I have tried to do is to have each synth have a unique place in my palette. Since I have good analog hardware, I don't tend to use software to get those sounds, but focus software on explicitly digital sounds (like U-he's Bazille). Quote Link to comment Share on other sites More sharing options...
Doerfler Posted January 31, 2020 Share Posted January 31, 2020 Dave, we carried all the gear up the stairs-even the Studer 800. Refrigerator dolly and three strong guys- one on top/two lifting from bottom. As in most things: one step at a time. thanks for the quick reply Quote Link to comment Share on other sites More sharing options...
Dave Bryce Posted January 31, 2020 Author Share Posted January 31, 2020 I think for me, the hardware is wonderful, but so is software. Having full recall as soon as I open the session, being able to spawn multiple copies of the same synth... Having audio render at faster than real-time... And space... My room is not as accomplished yet as yours, but it is full of special things. The one part of the tour I haven't run yet is Michael's control room...but check out the photo of the control room in my first post, and the (only) rack of keyboards in that room in the photo below. Almost everything with keys is a controller. dB Quote ==> David Bryce Music • Funky Young Monks <== Link to comment Share on other sites More sharing options...
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