SamuelBLupowitz
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Posts posted by SamuelBLupowitz
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All right, well, my band went into the studio back in February and knocked this proggy little four-movement beast out in one day (with one round of horn section overdubs completed later) to coincide with the eponymous Finger Lakes Thaw festival.
That festival, of course, has been postponed. But as this song (about an actual house my wife and I lived in for two years until it gave her mold sickness) is about being trapped inside, afraid to travel, turns out it's an appropriate release right now anyway.
Enjoy!
[video:youtube]
Oh, and as usual, we released some fun audio liner notes in the form of a podcast. Since I mostly talk about the songwriting process rather than my keyboard playing, here's what's going on:
-Wurlitzer 200A through a solid-state Vox from the 1960s (one of the outsourced models when the actual Vox production line couldn't keep up with the Beatle-led demand).
-Crumar Mojo XT through the same Vox, plus a crazy Wurlitzer rotary speaker that I detailed in a separate thread -- created a very cool sort of alien Leslie sound that I really liked.
-Roland SE-02 synth (controlled with one of the little Yamaha Reface guys; the engineer twiddled knobs until we got a sound I liked. Wish I had that for my live show!).
-...and a little bit of grand piano at the end.
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I've heard of JamKazam, wasn't sure it was still a thing, so thank you.
My wife teaches voice privately and she is moving all of her lessons to Skype for the time being. Her students are all on board, and she's done some lessons with people who teach remotely regularly to pick up some tricks, and it seems like that model is workable. But it really forces you to rethink the "I'll play the piano and you sing along" model...
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When my wife and I formed our band Noon Fifteen with three good friends, we were looking for unusual ways to get our music out there. We'd done the spend-lots-of-money-and-make-CDs-that-people-don't-buy thing, and we wanted something different that would stir our creativity.
I had a few people talking to me about how much they love podcasts around that time, and their thoughts about how cool it would be for more musicians to take advantage of the medium the way comedians have, so we've been using a podcast as a sort of audio liner notes for all of our releases thus far. I love putting them together, as nothing thrills me more than blathering on about songwriting and record-making, but it's also a great way to present a sense of the band comraderie and sense of humor. I read once that David Gilmour has regretted that nobody really got to see how funny Pink Floyd was, as their records and live shows didn't present any of their Pythonesque interactions.
The whole archive is on our website, and it's also on Apple Podcasts and Google and all the usual places. We also released a new episode today. It was meant to coincide with a festival appearance; instead the song about being trapped in your house, afraid to travel, is timely for an entirely different reason.
Hope my fellow musos and podcast fans enjoy!
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Despite the fact that I've been gently perusing interfaces as my wife and I prepare to move into our new house with its dedicated studio space... this thread just left me wanting a better Mellotron VST.very few audio products are fabulous for everybody. (Except M-Tron Pro. M-Tron Pro is fabulous for everybody. Sorry, it just IS.)
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Starting with some simple pitch bend and modulation for synths -- vibrato or filter cutoff depending on the patch. I figure that if I can get comfortble using it as a no-contact pitch/mod controller, I can get more creative and ambitious. What are you having it do for you? -
Somebody set Randy California up the bomb.In other news, I have copyrighted the 12 bar blues progression. All your royalties are belong to us. -
I rather think the headphone experience for an audience is akin to the in-ear experience for performers: same environment, lower volume, clearer sound, more person-to-person isolation to negotiate.I did one at a wedding recently. Quite enjoyed it.But on one thing we can all agree, if the "imagine no more concerts" thread is any indication: now is not a great time to be doing that.
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And we should all be grateful for that distinction, since we all know Pete Townshend's stance on the prematurely deceased is "thank god they're dead." :wink:70+% of the population will eventually contract it according to the WHO, (not The Who). -
I was introduced to Lisa and her work only very recently; what a pleasant surprise to find her on your podcast. It's been a diverse array of guests so far -- keep it coming!
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I'm curious too (not that I'll be replacing my new XT anytime soon). They've been teasing the "Classic" since last fall, but this is the first I've seen anything about a Desktop (do you think that'll basically be a VB3 module?).
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Mike, I am so happy you took the time out of your day to give us this visual aid. The X-Files poster is, perhaps, my favorite touch.http://static.flickr.com/58/185867807_e0c91da167.jpghttp://static.flickr.com/73/185867844_6be56f231d.jpg
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Let's call the whole thing off. :wink:you can have discord. I will have datcord -
Nope, we've been on MIDI 1.0 all this time. 2.0 is the imminent upgrade, with the first controllers geared toward it hitting the market this year.But aren't we on the verge of 3.0? (or long overdue for it) -
Reading those old threads reminded me why KC is such a gem of the internet.
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Edit: The arrangement is the arrangement. Sure, you can extend solos (use hand gesture). But when you go to the chorus or the bridge or the verse should be set in stone.
You never know, maybe the congregation is really into Phish!I agree with those that say don't edit/stretch the arrangements in such dangerous ways. There are plenty of more organized ways to stretch out without trying to communicate such difficult things to a whole group of people. -
I suppose you could ask Bruce Hornsby's band about that! :wink:Is it really necessary to do that? I would think that would make everyone play very tentatively as they don't know what's coming next.... -
If you're not already on in-ears, it's a bit of an expensive fix, but many groups do as you say: have a mic for the bandleader that only goes to the monitor mixes, but not to FOH, so vocal cues can be given to the musicians.
I've done a lot of gigs as a piano-playing bandleader without that technological luxury, and I got used to doing some Paul Shaffer-style hand signals with my left hand: a closed fist for "here comes the ending," four fingers up for "modulate to the IV chord," that sort of thing. But that definitely requires all the musicians to be paying close attention to the leader.
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That is what my guitar player's two-year-old son would call "two pianos!"These are great pictures. I got one more. This is my first keyboard which my grandma bought me for my 13th birthday. May I present the [font:Arial Black]"WHITEHALL GRAND PRIX DUO"[/font]:
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Such a cool performance, Mitch. I love the many twists and turns. The communication between the three of you is striking (and I'm a big fan of the guitarist's spacey approach to the intro and outro).Here is a run through the Ron Carter tune "Eighty-One" with two of my favorite musicians, John Kizilarmut and Luke Polipnick. This one takes a few turns along the way. (Sorry that there is some distortion here and there.)Do you mind getting into how you're set up, with the Leslie and the Aguilar behind you?
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Stevie Wonder was known to run a lot of his keyboards (particularly the Rhodes and the clavinet; not sure about the synths) through Orange amplifiers in the 70s, a little different from the more typical Fender sound.
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It's a great feeling to be part of a team that appreciates the whole as more than just the sum of its parts, where it's not about ego and "turn me up more than the next guy." Congratulations, and I look forward to hearing what you've been working on!
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I can see the Richard Roeper review now: 'What a scene, what a scene!'
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I have a friend who is a brilliant composer and adept synthesist who has had to come up with creative ways to adapt as a performer since a car accident limited his physical mobility.
He is very, very excited by this.
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We purchased one of the original Roswell Delphos condensers for recording at work (we mostly do language teaching materials and podcasting) -- we wanted something with a switchable polar pattern and it's far and away the best quality-to-price ratio we could find.
Haven't been disappointed, it's a great mic to work with. It's found its way into some of my, shall we say, extracurricular recording projects as well, to my great satisfaction. A pair of the Mini K47s is on my home studio wish list, for sure.
What are you having it do for you?
Remote rehearsals...
in The Keyboard Corner
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I'm always interested in this sort of thing, since a big part of my day job is supporting multi-site (Cornell, Columbia, Yale) language courses using videoconference technology. Latency is very important for speech and conversation, as is audio clarity, but music is on another level.
Turns out it's really coming in handy to know how to do this stuff right now.