SamuelBLupowitz

I think in the Beatles Anthology doc from the 90s, Ringo said something along the lines of "we still had good days," they were just not quite as frequent as they used to be, or at least when they argued, there was more baggage. I've been interested in this film anyway; the original doc is pretty rough but has some fascinating peeks behind the curtain, and the Beatles and Peter Jackson are responsible for some of my favorite hyperambitious works, as well as some of my favorite missed opportunities later on. :grin:

Thank you, that was very helpful to read. This means I can continue to dislike and avoid Facebook for other reasons! Also, insomnia is just my favorite thing right now.

Shout about gear, mostly... not too different from what we do on the forum, honestly.

The time has come! Well, for some of us anyway.

The latter. dB ...until now. Ken Rich has has it for about a week and a half. He's completely cleaning it up and doing a few fun mods to it including (but not limited to) the reverb tank being routed to the Leslie as well as its dedicated onboard speaker (switchable, of course) and footswitch rotor speed. Can't wait to get it back. dB Hmmmm those sound like some desirable A100 mods... :wink: By the way, this thread was also very helpful when I was dealing with moving mine, so, I'm glad to see you reviving it!

Ahh, that big, rubbery 60s bass sound immediately filled me with joy. Nice organ playing, too, and the false ending with the outro guitar solo/drum set grandstanding made me smile. Sorry it didn't lead to fame and fortune, but glad you could share!

Great, I'll definitely give that a shot. Dos and don'ts for that procedure? Any good step-by-step processes written out online that are better than others? I got another clip of him playing a reggae bubble on the organ and the stabs and horn lines on the Wurli, but without a rhythm section underneath it sort of melts my brain.

That did seem to help for a bit, but the crackling started coming back after a few minutes of playing, which also seems to jive with symptoms of dirty sockets and/or pins. I'm hoping it's that rather than something more complicated/expensive that the tech didn't catch!

Maintenance/ongoing cleanup question: I'm having some intermittent crackling noises coming through the Leslie. It's more prominent on certain low register notes, but will sometimes happen when I'm not playing at all; I'm hearing it through the rotor as well as the drum, so it's not the Altec speaker. Based on what I've read, I'm thinking/hoping it's just some dirty tube sockets (lord knows this thing collected a ton of dirt, and who knows what got shuffled around when the tech replaced the tubes and we carted it back to my place; I didn't notice the crackling until I'd been playing it for a few days), but I've attached a video in the hopes that the more experienced Hammond folks will have ideas. [video:youtube] If it is dirty tube sockets, is DeOxit and a brush and/or cue tip the way to go? I've heard that stuff is amazing for cleaning the contacts, but I've heard both good and bad about using it on the tubes... inquiring minds want to know! Also, here's a brief clip of Outkaster checking the organ out when he came by last week to drop off a back panel and some screws for the Leslie. [video:youtube] Other than the minor issue of the crackling, I'm having a fantastic time. :grin:

I hope you can get your money back, Mark! :wink: Thanks Sam. To my knowledge synth developers don't reimburse for psychotherapy expenses. :guinness: I think they're missing out on a lucrative service they could offer their demographic!

Great to hear Cropper discuss this classic. In Booker T's memoir, he also talks enthusastically about how the "chank" guitar part glued the record together. I got the sense from that book that while there's not the level of animosity that's grown between some great musical collaborators, Booker T and Steve Cropper have a complicated relationship. Still, you can't argue with the music.

I hope you can get your money back, Mark! :wink:

I don"t know that there"s more going on here than is necessary to discuss outside of a PM, but now that I"ve started struggling through figuring out the MOTU Stage-B16 and its digital mixer, I"m happy to keep the conversation going. I also struggled to understand the way the 'Mix In' routing worked, because the mixer *is* separate from the preamp gain, phantom power, and polarity (which are set on the Device tab). So the computer and the onboard mixer are two separate destinations which run in parallel, but can also be routed to one another. Had to soak my head in a bucket of cold water after trying to figure out how to monitor a vocal being tracked through the mixer but everything else out of the DAW... but I GOT it, dammit!

Oh man... should I have waited before I moved on that $600 A100? :wink:

Joe, thank you so much! My brother and his partner are staying with us for a little while (and helping celebrate my birthday today), but I'm sure I can hop in to one or more of those sessions. It will be nice to chat... and I can join in from the studio. Maybe that will give me an excuse to mic up the Leslie...

I feel like that's a great way of describing Sibelius 7 on every OS I've used it on since maybe 2010...? In all seriousness, I may check this out. Don't write a lot of charts out these days but you never know when the need will arise. ...and if this thread continues, one of us may need to share that lengthy Sibelius design critique video/documented emotional breakdown again.

Not a YouTube channel, but there's a really fun book called "How to Play the Harmonica (and Other Life Lessons)" by Sam Barry (brother of humor writer Dave) that's as much about how to enjoy yourself and not take music-making too seriously as it as about harmonica technique. I'm a terrible harmonica player, but I did enough solo renditions of "Piano Man" early on in my performing life that I was ready to jump into action when the CSNY tribute act I play with from time to time added "Heart of Gold" to the rotation. My pitch to them: "to be fair, I suck at harmonica, but so did Neil Young, so I'm claiming the part on the basis of authenticity."

Same, and I've been pleasantly surprised how quickly I was able to create usable sounds with it. I actually pulled the plug-in up just for fun when setting up for a synth track I'd been putting off for one of my band's songs, and I dialed in something that worked almost immediately. Definitely a lot more digging in to do, but it seemed relatively intuitive for finding familiar but interesting mono synth sounds with natural MPE responses. I often struggle to weed through all the modulation options in, say, Equator, to get "Moog-y thing with a little portamento that does something weird when I slide up the Y-axis on the Seaboard."

A thousand times this!

Just know that the wide aspect ratio of the phone is pretty standard -- any camera you get will have that same width and proportion, whether it's filming in 4k, 1080p, or "vintage" 720p. The exception, of course, if you're deliberately going for that old-school 4:3 TV aspect ratio, a la Vulfpeck. Filming the "tall" way is illegal. :wink: Can't speak to Android, but iOS is capable when it comes to recording and reproducing audio, as long as the settings are right. Unless you're talking about using the onboard mic -- then yes, it's usually a disaster.

Mine arrived last night. So did my new MacBook. Report forthcoming.

Oh man - now we're talk'n. Fortunately my grounding configuration is pretty good from when I had my basement redone although I could improve it some. However electrocution is the least of my worries if my wife catches me messing with this stuff again. I just completed installing a manual transfer switch for a generator and a new whole house surge suppressor. Um... I think I'm gonna need to do a consult with you two when we start doing more work in the home studio... sounds like you have some first-hand experience with the stuff I've been thinking "hmm, I wonder if we could..." Right now, I have a 24-channel analog Mackie 8-Bus console that I got for free sitting on top of my Leslie, so I can run lines from the Wurlitzer, Gibson combo organ, Clav, Novation synth, and laptop (the latter two in stereo), and mic lines from the Leslie and the acoustic piano. But even I, looking upon the Mackie's plasticky girth pouring over the edges of the 147, think to myself "this might be a little much." And a bunch of the channel inputs are, shall we say, hairy. So let's just say I'll be following this thread with interest. Though honestly, when I get to the point where I'm ready to spend more money on this kind of gear, I'll probably just get an expander for our 16-channel interface that I can completely hog with keyboard lines all the time. "No, no, I just really like a nice Glyn Johns mic setup on the drums! You don't need all that close mic shit! I'm sorry, what was that? Didn't hear you over Hammond... don't you love how big it sounds with the stereo spread plus the low rotor mic'ed up?"

Well, sure, but I think Josh"s point is that if you can just build the pedals to not slip in the first place, why wouldn"t you? Unless you also manufacture Grip Mat... ð

I saw this in my feed on Reddit this morning and I thought, "do I really need to spend money on another out-there MPE synth when I barely scratch the surface of Equator, and half the time I'm really just trying to sound like a Minimoog anyway?" Then I saw it was a free download. So, yes, I will be playing around with this as soon as my new MacBook ships.

Welcome! That bass line is SOO badass, and the way it stays constant as the chords change. Then Billy Preston on the Wurli comes in and Reverend Al and Lyle Lovett playing off each other..I can't listen to that track too much. You can hear the inspiration all the way through that project, and the way the musicians were so psyched to be working on it- it deserves an entire KC thread, I think. I would love to read Steve Nathan's recollections of what took place. Oof, count me in on that too. More than a few stellar keyboard players on the record -- in addition to Brother Steve and the aforementioned Billy Preston, we've got Benmont Tench, Barry Beckett, and, um, Allen Toussaint? The rest of the session players aren't exactly nobodies either... Looks like the killer bassline on that tune is played by Hutch Hutchinson, of Bonnie Raitt fame. He's really laying it down. Also in good company on other tracks!