SamuelBLupowitz
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Posts posted by SamuelBLupowitz
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Wasn't I just complimenting your taste on one of the other forums, David? Good call on the Wilburys. I found a video a few months back of Tom Petty & The Heartbreakers "covering" (is it still a cover if you co-wrote it?) Tweeter and the Monkey Man back in 2013 or thereabouts at one of their theater shows. Apparently none of the Brits in the Wilburys contributed much to the song; they didn't get it! To have been a fly on the wall while Tom Petty and Bob Dylan wrote a Springsteen pastiche...Sometime I think of Tweeter, sometime I think of Jan
Sometime I don't think about nothing but the Monkey Man
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A: Aretha Franklin
B: Billy Joel
C: Chris Thile
D: Drive-By Truckers
E: Elton John
F: Fab Faux
G: Gov't Mule
H: Hornsby, Bruce
I: I'm With Her
J: Judas Priest
K: Kahane, Gabriel
L: Ladysmith Black Mambazo
M: Marcus King Band
N: Nocturnals, Grace Potter and the
O: Organ Freeman
P: Paul McCartney
Q: Quail (they're a local band but I'm counting it)
R: Rachael & Vilray
S: Sharon Jones and the Dap-Kings
T: Turkuaz
U: The Uncommons (another band from the local scene, this was a toughie)
V: Vulfpeck
W: The Word (John Medeski, Robert Randolph, and the North Mississippi All-Stars)
X: X Ambassadors (I'm pretty sure I saw them either just before or just after they added the "X" to their name, but I'm claiming it either way).
Y: Yo-Yo Ma
Z: Zakk Wylde (with Black Label Society).
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People on this forum are starting to learn by now that I really, really love Moog Model D as an iOS synth. It sounds terrific, and it's inexpensive (might still be free during quarantine right now, not sure).
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A fair point! I have a Mini 4, so perhaps it's my choice of apps rather than the processor abilities... Moog Model D has gotten me into trouble in AUM a few times when I've tried to use that and something else simultaneously.Samuel, when you say "I have a mini" that's kind of like saying "I have a Mac".
What KIND of mini do you have? I've worked with all five models and have owned four of them, and there are huge differences.Of course, the big reason I moved over to the MacBook and Mainstage was so I could create an aggregate device to route separate patches to my main stereo outs and to my talkbox... I think creating separate outputs is still the feature that would make iOS the thing for me!
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+1, that's been my experience as well.So I got Jamkazam installed on my iMac and the singer's MacBook Pro and tried it out last night for first rehearsal. . . . at the moment I give it a "much better than nothing". We were able to speak, go over how the arrangements would go, talk about tempos, get a feel for how it will be when we play live. Work out harmonies, etc. etc. If you can stay together with the latency and drift in Jkzm you will be overjoyed when actually in the room together for a gig. -
I can't wait to check that documentary out. We streamed a full TTB show from February 2018 the other night; just magic.
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I have the previous generation of that Steinberg, the UR22mkii, for my gigging rig, and I'm very happy with it. The DIN MIDI in/out came in super handy for my peculiar setup, even though I wasn't sure I'd need it when I got it. Obviously, just the one stereo pair of outputs; I run the built-instereo outs to my amp or direct to the house, and set up an aggregate device on my Macbook so I can run a separate output from the Mac's built-in headphone jack (for my talkbox).
I don't have personal experience with the others you mentioned, but I've heard good things about all of those brands (I've used some Focusrite interfaces as well).
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And I resent Instagram Stories for trying to normalize vertical images and video after so much progress had been made!I haven't figured out how I can get Facebook and YouTube to make their video window vertical to match my cell phone video size when I'm filming out and about.For some reason their Window is always sideways-like rectangular when I want it to be vertical like on my phone! I'm over 50, so.. ya know, go easy on me if ya can.
Just don't do vertical video. Please. There is a reason all recorded visual media is wider than it is tall. I wish camera phone makers had never allowed vertical videos in the first place.
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Just need to vent -- may delete this post later, but I need some confirmation from outside of my bubble that I'm not losing my mind here.
Obviously the onset of Covid has delayed closing on our house, but all things considered it hasn't been too bad -- the wheels were in motion before things got really serious, so it's just slowing down the process.
But our friggin' mortgage loan officer has screwed up at every turn. We went with this bank -- our bank -- because we have a good relationship with them, and more importantly, my father-in-law has a good relationship with them. My wife and I are but humble working musicians with day jobs, but my wife's father (believe it or not, one of my favorite people in the world) is a big-shot bankruptcy attorney, so the bank wants to make him happy, and consequently wants to make us happy, and that's been hunky dory except for this moron who keeps screwing up basic stuff at every turn and we don't find out about it until weeks later. The two most recent examples are that two weeks ago, a week before our planned closing date he casually told us we needed to come up with a bunch of cash reserves to make the underwriters happy, something we could have prepared for if he'd just said so when we started this in February, but because he screwed up it became a BIG PROBLEM because of the current financial situation. Today -- when we were about to finally be given a closing date -- we found out that he never informed the attorneys that my wife is supposed to be on the DEED TO THE HOUSE -- which, by the way, we had discussed *at length* and he had confirmed in writing over a month ago he had taken care of.
Aside from his ineptitude, closing in the pandemic is no fun. My wife has a history of respiratory illness that makes all of the covid stuff really scary. We've avoided going into public if at all possible. Now if we want to close on this house before this virus shit is behind us (and who knows when THAT will be), we're going to have to suit up and go to a notary.
Look, I know this is all going to be fine in the end, and in the grand scheme of things, our problems could be WAY worse. But I could do without more unnecessary unpleasant surprises right now. End rant. Thanks for reading. Hopefully soon I'll have some good news about the house and we'll be able to gradually start moving in...
P.S. For those of you keeping track, we woke up in Ithaca to a covering of snow today!
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See, I knew you had good taste! :wink:I am a MAJOR Decemberists fan and hadn't thought of approaching Jenny as yet.: -
Inquiring minds want to know what's going on in this photo!I get to cram everything into my home office. -
Okay, here we go! A few I can think of off the top of my head, in order of least to most famous/potentially hard to reach.
1. Jon Petronzio
3. JP is a fine example of an American working musician, spending the last two decades touring in bands he's co-founded (Revision) as well as established national acts (John Brown's Body), performing as a solo singer/songwriter/instrumentalist (Roadman), playing regional club dates, and teaching lessons. Also, he is a monster with the left-hand bass.
1. Craig Brodhead and/or Chris Brouwers of
2. Craig's Facebook, Chris's Facebook
3. Craig's mostly known as a guitarist, and Chris plays the trumpet, but they both split their duties pretty much 50/50 with keyboards in Turkuaz, one of the best, tightest bands working these days. Craig generally plays clavinet and synthesizers; Chris covers B3 duties on the other side of the stage, plus even more synthesizers -- often with his left hand, while his right holds his trumpet up to his face.
1. Jenny Conlee of The Decemberists
3. One of the finest orchestrally-minded, play-to-the-song keyboard players of the last twenty years. Her work on Hammond, piano, accordion, synths, and all sorts of weird instruments with keys to complement Colin Meloy's songwriting is full of personality but also just what the doctor ordered, all the time. Also she was on that one episode of Portlandia as "Sparkle Pony."
As long as we're here, might I suggest some more pie-in-the-sky ones, since you've managed to snag some pretty high-profile guests?
Benmont Tench, Page McConnell, John Medeski.
I wasn't really asking your permission, I guess... :wink:
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For what it"s worth, the Hammond book I"ve been working out of recommends keeping your left foot at the Ab pedal when your leg is resting, and that position has been helpful for me in navigating without looking for the first time ever. Again, though, I"m using a 13-note Roland pedalboard, not a real Hammond pedalboard.Curious- do you foot pedalers mostly rely on muscle memory? Knowing, for example, how far to move your foot to get to a 5th (or other) interval from where you are? Or is it more a matter of positioning yourself on the bench the same way and knowing, with confidence, where each individual pedal is? I don't hear too many clams from people playing pedals so I assume most have a good degree of confidence. -
I"m alerted when someone I"m friends with on Facebook goes live â but who the heck knows what various settings guide that, and where they"re buried.
What my wife and I have done is schedule the live video ahead of time on our band"s page, then share it on our personal pages.
Those alerts are a double edged sword. I was watching a friend"s album release show last week, and in the middle of a tender ballad about a deceased friend,a box popped up that said 'So-and-So is Live Now!' When I tried to close the pop-up, I hit the link instead, so all of the sudden instead of my friend"s heartbreaking composition, I was watching a shirtless man in a gas mask play the drum set by himself. Ah, technology.
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Hopefully we"ll hear more soon, or someone can clarify... my wife and I got our direct deposit yesterday, but I"m on university payroll, and my wife still has a retail job when we filed last year, even though she"s since moved to teaching privately full-time. I"m hoping it can be quick and easy for as many folks as possible.
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For $29, this is a no-brainer. I mean, maybe not under the current circumstances, but when our income stream is back to something resembling normal... thanks for the tip, Joe!I I wonder if Rogue Amoeba's SoundSource would be helpful to you. -
I read Styx bassist Chuck Panozzo's memoir awhile back and I remember it didn't paint Dennis in a very rosy light... but then again, Chuck also didn't attribute the homophobia within the band (prior to his coming out) to any individual member, so one imagines it might be hard to place the blame on any one member for the falling-out.
Lawrence Gowan has been with Styx for a really long time at this point, hasn't he? Something like two decades? I'm sure you only get and keep that gig if you're the real deal; cool to hear so many of you with personal stories about him!
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The combination of time at home and crushing ennui is killing me. I have time to write, to practice, to exercise, and I feel so little drive to do any of it. Just trying to work through it and be kind to myself...I"m going to weigh 600 pounds if this don"t end soon.But yeah. No physical band get-togethers, and no end in sight.
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I was just going to watch the keyboardy part, but I started at the beginning and now I'm mesmerized. Back when I played more jazz (high school and college), I was mostly playing bass, so... yeah.
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The approximately 1,372 times I have listened to Quadrophenia has prepared me to play the entire bass part in my head after reading that.Can you see the Real Me? Can ya? -
And that means you found a great lady, but I think this is something we see a lot of on small scales and large in our current world, with such intensity and regularity that it can be hard not to be swept up in it. Rather than the interpersonal example, the one I go to often is the Orwellian one of "we've always been at war with Oceania." Repeat something enough times, with authority, and people can believe it whether it's true or not, even if they've experienced the denied reality firsthand, and that's dangerous.His initial premise is that a guy caught cheating can convince his wife it didn't happen by "gaslighting" her? What kind of idiot must she be? All I can say about that is if I tried that with my lady I wouldn't be here writing this...
I don't think the "nice view of the mountains" is the point, it's the affect our normal routine has on our habitat, and that change is possible.So, with everybody home going out of their minds with boredom and worry about their economic future, we're going to wax poetic about the nice view of the mountains? And use that to try to think about some kind of utopian future? Ok, fine. Nice views but when can I get back to work and go see a Lakers game?
Is that true? Are you defining "worth" as simply "what the market will bear?" Does that mean that if Craig gets stiffed on his royalties as mentioned above, he is worth less?And then of course, he has to mention income inequality. I think I can say this without getting nuked. People are paid what they're worth.Not to even get into the more philosophical question of "what is a human life worth," on a more practical note, are we saying the CEO is worth more than the production line workers? That an NFL player is worth more than an EMT? How does that assumption play when the normal routine is completely disrupted, as it is right now?
I think one of the main points of this article is that we need to question our assumptions of what people are "worth," because the current systems don't hold up under pressure. Do we just accept that, knowing that the next catastrophe will devastate the same groups of people, or do we learn from this and change the system?
I don't know, man. All this sitting around my house not being able to be with my friends and family, having our entire financial landscape altered, watching the death toll rise because hospitals can't get what they need, having talking heads tell me I only deserve medical care if I can afford it, has me feeling pretty depressed. Maybe you're just bored and annoyed. I'm having a very difficult time with this emotionally, and most of the people I know are, too.What? No. Brought to light painful truths? . . . Does the majority on this forum feel devastated, depressed and heartbroken? What's he talking about?
No, and I think that's what the piece is about: remember that the normal routine is fragile, and that we can do better, and act accordingly. Demand more for ourselves than "$1200 is coming, I promise, now shut up so that six months from now we can remind you that 'every man for himself' is the only way."At the risk of sounding callous and uncaring about the plight of others,. . . Bad things happened, people died. Life goes on. We're not going to find our way to something resembling the Star Trek universe by staying home collecting unemployment and admiring the view of the mountains because the economy has totally collapsed.I think KuruPrionz nailed it in recounting of the American Big 3 balking at regulation/change but being forced to follow Toyota/Honda and their philosophy of efficiency and improvement. We can try to tell ourselves that the way we were doing things is still the best way and that this is an inconvenient aberration and that hospitals being unprepared and the economy being devastated is a given, or we can do better for everyone so that the next time there is a catastrophe, we are better prepared to care for one another on a global scale, and "people being paid what they're worth" doesn't have to translate to "yeah, a lot of people won't be able to get to the hospital, that's the way it is."
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The current environment of regular livestreamed performances has me wondering about best practices (and any unique solutions others have come up with) for blending software instruments with analog-domain sounds being captured into a computer. Because if my audio path is microphone/DI > interface > livestreaming software, I'm not sure what makes the most sense as far as incorporating a controller and a software instrument.
Maybe this is a no-brainer on Windows; as a Mac user, getting internal sounds from one application to another requires a third-party application (it used to be Soundflower -- I think that's been replaced by iShowU Audio or something). My instinct was not to mess around with splitting processing power between audio/video capture/streaming and sound generation. It's something I've never had to consider as someone who has spent a lot of years using computers to create and capture music, but is a relative newcomer to using them for performance.
I also wonder about this in a recording studio setting. My studio workflow is usually to start by recording a live group of musicians simultaneously (remember when that was a thing?), and then overdub additional parts one by one to flesh things out. Most of the computer-generated sounds I use in my live rig would either be replaced by an analog instrument in a studio, or would fall into the "overdub" category anyway, so I would perform the overdub in a Logic session with the software instrument as a plugin. But as I add more and more softsynths into my live rig, I'm wondering how I would handle capturing one of those instruments on a live tracking session with a rhythm section.
Do any of you record a live band along with software instruments in the same DAW, capturing audio and MIDI simultaneously? Do you use separate computers for audio generation and for recording, and capture the software instrument as audio rather than MIDI?
Not necessarily looking for a particular solution for myself, just the philosophies and practices of others.
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Time has made Dennis more like Donald Fagan visually and more like Phil Rosenthal in affect, and I love it.
Wasn't expecting that performance to hit me as hard as it did (though that's a recurring theme right now, I guess). My younger brother was/is a really big Styx fan, and we saw Dennis's band-plus-orchestra tour in Philadelphia when I was a teenager and had a blast. It's nice to hear from him right now; he was, some might argue, responsible for the cheesier, less "rock" element of Styx's sound, but it's unfathomable to me (artistically -- obviously it's a sound business move for the rest) that they've carried on the name without him all this time.
Anyway, I appreciate the share.
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I appreciate the introduction to Rhinoceros as much as the bass pedal tips... to hop on one of my most frequent soapboxes, so many of the mainstream rock bands in the late 60s and early 70s all wore their Motown influences on their sleeves, especially bass players, and this track is certainly no exception. That pocket is what separates the grown-ups from the children as far as I'm concerned.Spending more time on my organ technique, so I don"t just feel like I"m Rhino-stomping everything.nothing wrong with a little Rhino when playing B3...(sorry, couldn"t resist, huge fan of this band, and their excellent B3 player the the legendary Michael Fonfara..)
[video:youtube]
Guitarist sounds like he's copping Jimmy Page a bit there on the solo!
What KIND of mini do you have? I've worked with all five models and have owned four of them, and there are huge differences.
Current iOS apps! What do YOU use?
in Recording Magazine - The Forum
Posted
I've seen people talking about iFretless Bass on Keyboard Corner forever, but I never looked into it -- damn, that's a really impressive app!
I've been messing around with Yonac Steel Guitar, and that's been a lot of fun too, though I haven't quite dug into how to use some of the more advanced MIDI features -- just changing tunings and signal chains, and playing "In My Time of Dying" at the airport. I'd like to see if I can set up the MIDI learn functions with some pedals to control the pitch bend and that sort of thing; I've really enjoyed playing it on the iPad screen, rather than just using it as a sound source for a keyboard.
I've had some success with VOLT as an MPE synth, and I really like the sounds, but I find it to be a little laggy and prone to crackling, at least compared to some of the other MPE apps I've run on my iPad.
Also cool to see some traction for Geoshred. It was an app I become aware of early on in my iOS-for-performance life, but I never made the jump (in part because it made me sort of snicker in its concept and over-the-top presentation). As I've integrated my Seaboard into my live performance, I've actually found myself functioning as a second harmonizing lead guitar more and more often, and while Equator does well with those sounds, Roli's iOS apps are so untweakable that you pretty much get one over-the-top guitar tone or nothing. Dr. Mike, do you pretty much use it as a Shreddy Guitar, or do you like it for other things?