SamuelBLupowitz

That is what my guitar player's two-year-old son would call "two pianos!"

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). Do you mind getting into how you're set up, with the Leslie and the Aguilar behind you?

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.

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!

I can see the Richard Roeper review now: 'What a scene, what a scene!'

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.

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.

Good to know I have some folks with experience I can check in with. I've been gradually working on integrating it into my Mainstage setup, and I'm just on the verge of having it work on some patches the way I need it too, but I'm treading carefully. I think I have a little more careful setup to do, documentation nearby, to make sure it's working consistently.

I was just talking about my background in literary criticism on a different thread; I must say I still get all excited when someone uses the word "epistemology." Alternate suggestion (since we must also take into account not only forumites' individual preferences, but also their motives): get the SV2 so that I can take the CP88! :wink:

that photo was taken in July Dave beat me to it with a funnier response, of course. :wink: In all seriousness, though, those photos are from when the house went on the market in November. Attached, find a picture of the house from the inspection this past Tuesday, apparently in Silent Hill.

Thank you. Not everybody agrees with the red, but I like it. (Insert Nord Lead joke here)

What do you do there? My uncle was a prof there until about three years ago. I don't think he minds Chomsky even a little. I handle the media (digital and otherwise) and distance learning equipment here, and manage the small recording studio. My background in literary criticism does occasionally come in handy, I say while keeping out of the Chomsky debate for the purposes of this thread. :wink: I will say, I can imagine this voice cloning technology coming in handy for when our weekly podcast guests ignore our e-mails and don't schedule a time to come into the studio!

It's an acquired taste. I love mine, but I've also had those same battles with it. The need for MPE compatibility makes it a little finicky to get behaving the way you want it to depending on the sound source, but I know there are some boards and modules that are MPE compatible that folks have used it to control. It's very rarely a plug-and-play experience in my opinion, but when you find that right combination of sound and part, it is HUGELY fun to play.

Okay, contracts are signed, inspection went great, attorney review is looking good, and we're working on the full mortgage application. It's not all buttoned up yet, but we're in motion. I kind of can't believe this is happening, but I'm very excited, and happy to share with you all what I've been looking at after the sellers' 180 on our offer, and the madness of the last three days. So, here's the house. 1966 bilevel ranch on about an acre and a half of land -- a lot of that land is moss and woods (with a little pond!), so we get the space without a massive amount of lawncare. The house is in desperate need of some paint and various other minor exterior fixes, but it's solid (and my wife would want to change the aesthetic of pretty much any house we wound up in anyway). More on that big bay window momentarily. What you might not quite notice in that picture is that there's another door just to the left of the front entrance, hidden behind that evergreen. That is a dedicated entrance to the studio space. Other than the driveway-level door, there's also an entrance from the garage. As someone who has been carting keyboards and amps up and down hills and stairs and across apartments for years now, this is a godsend. Let's take a look in there: Dig all the built-in shelving? Perfect for our massive collection of books and vinyl, which will also cut WAY down on the amount of acoustic treatment we'll need for the walls. Note the many outlets running around the room, too. Eight-and-a-half foot ceilings, which (while not exactly Capitol Studios) is just high enough that I won't want to die when eventually using the space to record a drum set. Lord knows I've made records in more challenging spaces. Eventually the carpet will go, and we'll do additional sound treatment (my wife is pretty handy, and she wants to build some acoustic panels and cover them with artwork), and any other electrical and physical adjustments we want to make to improve it as a space for playing and recording amplified music, but it's already a better rehearsal space than anywhere else my bands congregate. The non-shelf wall with the driveway door is probably going to be keyboard land, with our upright piano, the Wurlitzer, and eventually a Hammond/Leslie. This room will also be my wife's voice studio, so her students don't have to go through the rest of the house for their lessons. I won't go through the whole house with you here, but I do want to show you the main open living area: There's that bay window, where one day we hope to put a baby grand. Also a great spot for a Christmas tree, and general gazing out upon our domain. We're going to be very busy come spring when we move in, and the first big project is going to be the kitchen, which, while functional, is heavily sequestered from the rest of the spaces, has a bizarre layout, and contains ancient appliances (including a tiny oven that looks like the TV my parents had in the early 90s). Fine, fine, homeowner stuff. But in the meantime, four bedrooms, two bathrooms, a lovely den area with a fireplace, and we got a terrific deal on it, one that actually makes the aesthetic updates we need to make reasonable. I'm sure I'm in for plenty of horrible surprises like anyone about to buy their first home, but for now I'm just trying to look forward to what the future holds! I'll update you all again once we actually start getting settled in in a few months...

Big yes-please from me, sir!

I don't think the possibility that she overdubbed the final vocal later diminishes the talent displayed in her process at all -- there's plenty of processing on the vocal anyway, whether or not that's happening in real time. I did the same thing when I tracked with my band last weekend, and we replaced the live vocal with a comp of several later takes. I was only playing one keyboard and singing at the time! She's pretty clearly playing those Seaboard parts, and hitting those pads in time. If she made some fixes later, I don't think that's so out of step with the more traditional filmed in-studio performance that we often see from bands.

Tell your friend to drop by the Language Resource Center and say hi! If a petition starts to circulate the internet, count me in. Didn't Snoop Dogg license his voice for some pre-Siri GPS awhile back? Wait, can we get Snoop Dogg to be the voice of the Star Trek computers now? Count me in for that petition, too. "WHAT IS THE DOG'S NAME."

I've skimmed bits of that video, but never sat through the whole thing. It's ironic and telling that the brief snippet I just now watched taught me something about Sibelius that I had never managed to figure out before, and that would have come in quite handy. Favorite line: "It"s just a parameter dump perpetrated by some dev who probably assumed that a designer would clean it up at some point in the future." It is a long video, but it's worth watching straight through if you find yourself with a totally free 22 minutes (ha, ha) -- all the individual points are great, but there's something of an emotional and narrative arc to the full experience, especially once the narrator starts to crumble in the last few minutes.

I was already prepared to tell you how beautiful it looks (and how beautiful it must sound) -- and THEN I saw the Kawai. Congratulations! Here's to many years of happy music-making in that space.

[video:youtube] Gives me the heebs. That work was done in my neck of the woods here, it seems.

A performance like that requires a lot of setup and a lot of practice. Live looping is no easy feat -- one of my bandmates as a solo live show he'll bust out sometimes that's all a capella live looping, using his guitar effects rig to process his voice for drums, bass, etc. Add in all the different drum pads (your time and feel have to be on point to make that work), plus the Roli bass and lead synth (which requires some shedding to play fluidly and in tune, speaking from experience), and you've got very cool, very impressive modern pop performance setup that shows off chops and artistry/ingenuity as well as production and songcraft. I can get into that! As far as her specific process for the looping and processing, you should reach out to her via her YouTube channel and see if she gets back to you!

I feel your pain. I"m hanging on to version 7.5 until it decides it won"t work anymore. It ran better than version 5 ever did, but the writing was on the wall with the impossibly cluttered, confusing interface. Still, I scored and orchestrated my first musical on Sibelius 5, with a MIDI-to-USB cable running from my parents" digital piano into my MacBook. We"ve had some good times. As you move through the stages of grief, and you find yourself needing some catharsis, there"s always this classic: [video:youtube]

Mike, I"d say Roger should give you a commission! I do hope to get my hands on a Linnstrument one of these days.

Okay this is way cooler than I was anticipating, hahaha.

Maybe somebody thought they were sharing the MIDI files for the famous arrangement of "Godzilla" for harpsichord, tuba, tympani, and guzheng.