SamuelBLupowitz

Sample rate is the big culprit here, in my experience. It's amazing the difference that will make in the length of the "same" recording over a period of time. I had to learn that the hard way myself. Get everyone to agree on the lowest common denominator and you should be fine. I've yet to meet anyone who actually thinks they can "hear" sample rate, though I've heard legends... if that means you all have to record at 44.1, hey, it's still CD quality, and I would put money on none of your listeners being able to tell. And even on the off chance that somebody can, the difference it will make is so far beneath mic choice, mic placement, preamps, compressors, EQ... and it's all better than having to chop up a performance to make it fit.

I totally understand that too, though I have the opposite experience with songs written or loved by my buddy Dan who passed away last year (he was 45, also a guitarist, also cancer). He was a big Phish fan, and while nobody else in my musical circle is particularly fond of that band, there are certain tunes he loved that will always have a special place in my heart (and set list) because of him. Was one of the Phish songs "Get Back On the Train"? An oldies/classic country band that I play with do that one. Love it, for the lyrics and the music too (I'm a sucker for a train beat). The ones we've done the most are "Stash" (a really complicated tune, one might even call it unnecessarily complicated, that Dan always wanted to cover in a band and never got to) and an unreleased track they've played live called "Everything's Right," which was sort of his facing-death-with-serenity anthem. Yeah, both of the bands I've covered Phish in have powerful female singers, and that tends to be an improvement on Trey Anastasio's throwaway delivery (though sometimes it's a double-edge sword because it puts more emphasis on how goofy some of the lyrics are).

Harvesting organs is more common than you think. "I ate its tonewheels with some fava beans and a nice chianti."

That"s rough. I can understand. I totally understand that too, though I have the opposite experience with songs written or loved by my buddy Dan who passed away last year (he was 45, also a guitarist, also cancer). He was a big Phish fan, and while nobody else in my musical circle is particularly fond of that band, there are certain tunes he loved that will always have a special place in my heart (and set list) because of him. On the other hand, a drummer I played with in middle school ruined Dave Matthews Band for me for YEARS, and he's still alive and kicking.

Damn right you're sorry. I've been so happy running all my boards through the little Behringer Xenyx mixer in the new home studio, and now you're telling me I'm probably missing out if I don't add another piece of audio gear to my wish list? For shame, Bryce, for shame!

Man I love digging into stuff like this. There's "what does it sound like they're playing on that record" and "here's what they're really playing that makes everything fit together so well." Sometimes it's tiny details you can't fully appreciate in the full arrangement that make everything click.

Yeah, I was bummed to find out yesterday when sitting in at a friend's outdoor band rehearsal -- my first time playing with a full band since early March -- that I wouldn't be able to sit in with them at their upcoming outdoor gig at our favorite local brewery, because the current regulations prohibit more than four musicians onstage, regardless of distancing. You know what bummed me out more? Someone calling the police on the outdoor rehearsal halfway through. I guess the one neighbor that wasn't in their cars or lawns enjoying the music didn't want to be even further inconvenienced by talking to the band about the volume, and figured it was worth whatever might happen if the cops showed up. It's fine, I'm not bitter or angry about it at all. Anyway, yes, glad you've got something fun and new cooking, Dan!

My regular guitar player was, for a long stretch of time, the assumed musical director of a funk/soul cover band (as in, "hey Joe, drummer bailed and we have a sub keyboard player for the gig next week, you'll make sure the fresh blood is good to go, right?") but was not the "leader" and had little actual creative control (personnel choices or ability to chastise/replace the ones who didn't do their homework, song selection, organizing of rehearsals). That band turned a great deal of classic songs into PTSD triggers for him, but my favorite story from his time in the trenches was an offhand reaction he had at our annual holiday party when Donny Hathaway's "This Christmas" came up on the playlist: "Oh man, the Jeff Love Band used to forget this song every year!"

Nord - it's about $1200 out of my budget. :wink:

Moog might still be offering this app for free like they were at the beginning of quarantine. But if not, it's the best $18 I've ever spent (though I don't have a hardware Moog or Moog clone!).

Glad someone brought this up. Even if you're not primarily an organist, it's a really clever invention for a gigging keyboard player who does a lot of two-handed parts. If B3-X is your preferred organ sound and you're not averse to laptop/tablet onstage with you, this is also far and away your most affordable option. Alternatively, you can buy an add-on module from GSi that locks right into the housing of the DMC-122 and turns it into a hardware keyboard, with the VB-3 organ and a host of other modeled sounds. That said, I wound up getting a two-manual Mojo instead, for the look and the more organ-ic action. I just MIDI it up to a laptop and/or iPad for additional sounds.

Just tried now and had a nice chat with myself I did the same. Our overlapping time zones and opposing routines failed us ever-so-slightly!

What does a recital of a podcast appearance entail? Me telling a lot of old stories about my music and bandmates? I don't need too much prompting, as you've discovered! I'll be popping in periodically over the next day and a half! No it means you have to recite verbatim all your interview answers, without the questions Oh dear, I'll start by saying "you know" as a filler phrase a whole lot, thank oughtta get me close. :wink: As soon as I'm done editing these videos for work, I'll hop in.

What does a recital of a podcast appearance entail? Me telling a lot of old stories about my music and bandmates? I don't need too much prompting, as you've discovered! I'll be popping in periodically over the next day and a half!

I used to write the catalog for an auction house, and we had very specific guidelines about words like "vintage," "excellent," and other descriptors we could use, because so many of them gave people certain ideas about it due to Amazon and eBay that may or may not be true... I got a free Mackie console from that very same auction house. The owner was arrested for grand larceny not too long ago. Just some fun things I've learned!

Well, as I work in support for language instruction for the university, and since we have forumites from multiple countries, some of whom speak languages other than English (and I'm not even talking about our Australian friends), I'm going to call it "R&D." I wish! I was just thinking about that today, getting an email from the department of my major from my alma mater (Maryland, not Cornell. Who do I look like, Andy Bernard?)Got straight Bs. They called me Buzz.

Must be that Blupowitz guy. :wink: Thanks again for having me on; it was a real treat to talk shop.

Hooray! Can't wait to listen through. Thanks for covering for me when I didn't come through on the Rush track... I keep disappearing for days at a time to deal with house stuff.

I'm pretty sure in this particular instance (the heavily improvised organ feature), the bass guitar is laying out. It's a full-on organ feature (plus drums). Under more typical circumstances, defer to Mate Stubb above.

You, sir, are gentleman and a scholar. I was just telling the bass player from one of my bands how badly I wanted to try to learn this... time to put my money where my mouth is, I guess! Also, since getting my clavinet set back up in our new studio space, I've been very grateful to have downloaded your exceptional Superstition transcription that you shared here some years back.

Sure, but experimenting with out-there stuff is how you wound up with things like Tomorrow Never Knows and all of Electric Ladyland. Whether or not they should have been releasing their more experimental works is a matter of opinion and taste (Macca was reportedly pissed when John got Revolution 9 on the White Album after Paul had deliberately left the tape experiments he'd been doing since the mid-60s unreleased), but creating some music that just doesn't work is part of the trade-off for not having to operate within the tight constraints that all artists on major labels (I guess there was no such thing as being an "independent" artist in the 60s) had to when the Beatles started. Art isn't just a product, it's a process, and anything that gives us insight into that process is valuable (even if it's not enjoyable).

Um, not to drag the thread off topic, but does this mean you worked on Caribou? Or did they also come in on a later record? Inquiring minds...Yes, I was working at Sound City and it was the Caribou album they did the horns for. . . . And no, Elton wasn't there, Gus said he only shows up for initial rhythm tracks and lays down a work vocal. Then Elton comes back at the end to do the keeper vocal.Ah, of course, and that would have been the album where he famously threw a fit over the vocal for Don't Let the Sun Go Down on Me. Not my favorite of his 70s albums, but still a classic, and the tracks with the ToP horns and Chester on organ are a really cool variation on the textures he'd typically had on his albums up to that point, both the more orchestrated Paul Buckmaster ones and after he started using his road band in the studio exclusively. Thanks for sharing that story! For an artist at his level, there's actually not a ton of session documentation on his early albums.

Um, not to drag the thread off topic, but does this mean you worked on Caribou? Or did they also come in on a later record? Inquiring minds...

What a treat to hear Roy's style under such a microscope: percussive and rhythmic, but so attuned to the melody where it counts. Love it.

Dave, if you haven't already included Josh's "submission," I will rip the audio from YouTube so it can have a place of honor among the 80 minute volume.