SamuelBLupowitz
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Posts posted by SamuelBLupowitz
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16 minutes ago, MAJUSCULE said:
I think any of the nitpicking I might do would be easily attributed to first gig things as well as opener status.
Thanks man! One of those things is definitely *tempos* -- I really got to come to an intimate understanding of how wordy some of my songs are when we took them a feeeew clicks too fast, hahaha.
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Just responding to the notes about presentation: we were opening for a touring band (which I was also playing keys for) and the staging reflects that. I normally turn the piano in, but I had the organ set up facing in on this gig. Similarly, that’s the headliner’s kit — tuned for loud guitars and with a WAY bigger kick drum than my guy usually uses. He drove three hours from a wedding gig to play this one with me, so he didn’t even swap out snare and cymbals. If we were headlining, or not sharing gear, I completely agree that setting up closer together, with better sight lines (especially to work through the open improv sections; we had one or two missed cues in the thick of it) would be ideal. I think if it were up to me, I’d set up with the piano and drums stage right and left, angled inward, with bass in the middle.
And yeah, I definitely wouldn’t trust the phone recording to tell the truth about the sonic profile of the ensemble as delivered by the venue’s sound guy in the shoebox-shaped room after our brief soundcheck. 😉
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9 minutes ago, EricBarker said:
It's really important to have a nice cutting voice with a lot of clarity, and you've got that.
Using in-ear monitors regularly has drastically improved my live singing, and that's part of the reason I'm feeling so confident in this lineup. And since my wife is an absolutely crushing lead vocalist (she did sit in on one tune in the set, how can I resist?), I need all the confidence I can get! But technological assistance aside, the minimal distraction -- and frequency competition -- of only having keys, bass, and drums onstage makes it *so* much easier for me to sing accurately than when I'm unintentionally shouting over guitars and/or horns. It's part of the reason I'm trying to resist the temptation to get my first-call guitarist on board, as sensitive and dynamic a player as he is. Maybe for some gigs that merit a larger ensemble every now and then, but the stripped-down arrangements absolutely help me think more about *delivering the songs* rather than being distracted by too many nuances of the arrangement, or too much going on in my ears to really hear the tonal center accurately. "Okay, cool, the guitar is taking this solo, it's going to cover the rhythm after the drum break, I should ask for less guitar in my mix, and then... oh shoot I forgot the words and I'm a quarter tone flat."
2 minutes ago, EricBarker said:Personally, I often switch between AP and driven EP depending on the part. The EP gives it a bit more 70s hard rock guitar sound, which being a classic metal and heavy rock guy, is up my alley. But sometimes for big choruses, the AP ends up being more driving and punchy.
This is a good thought, because I go back and forth about whether I should embrace the patch diversity of a modern digital stage piano, or really approach the gig like I'm playing an acoustic grand and find my creativity through that limitation! One of the tunes I shared above is predominantly Wurli-driven with an AP solo on the recording; I've performed it that way, but this gig I was feeling the piano-purist approach for it.
Conversely, there's a tune we performed that I originally tracked a live-in-the-room trio for when we made the record -- we were going for a Physical Graffiti vibe, and so I conjured Jimmy Page via John Paul Jones by slamming my clavinet through a wah pedal into an overdriven tube amp. When it came time to play the tune live, I just went with the clav patch (with a healthy dose of not-as-cool-as-a-real-tube-amp overdrive and pedal wah) on my Yamaha, as sacreligious as it feels to play clav on a weighted hammer action.
I think that song *could* work with a piano-driven arrangement, but we were already opening for a Rock Band with a capital R, so I wanted to bring some crunch. I imagine I'll keep experimenting, maybe bring some of the onboard effects (particularly tape delay) into my solos so I don't start feeling like I'm running out of ideas halfway through the set.
3 minutes ago, EricBarker said:
Oh, we have exactly the same Chucks, my friend!Best wardrobe purchase of my music career, bar none.
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I've attempted the "singer-songwriter piano power trio" thing on many occasions over the years, inspired by early Elton John and Ben Folds. It's a lot of fun, but it never stuck. My own limitations as a player, plus negotiating the arrangements in an impactful, varied way with so few textures, plus my compulsive desire to bring into the fold any musician who wants to play with me, always led to me expanding the band or moving on to other things.
But I had a date I needed to fill, and a willing rhythm section who had played a show with me before (albeit as part of a larger lineup), so I booked what I figured would be a one-off Samuel B. Lupowitz Trio gig, and trusted that folks would do their homework and be fine with 1-2 rehearsals, given everyone's very busy schedules.
Thing is, two songs into the first rehearsal, the rhythm section was adamant that this needs to be more than a one-off. So... I'm here in part to brag, in part for thoughts, tips, and feedback from anyone else who has had success with booking instrumentation like this (or generally small ensemble original music -- too loud for the corner of a coffeehouse, probably, but also, you know, a guitar-less band). Now that it's looking like we may be booking at least a few times a year with this ensemble, I'm trying to think how to best develop it. It certainly helps me get around how difficult it's been to schedule around the availability of the younger parents in my larger projects.
Some three part harmonies would really make the whole thing. The bass player has worked with me a lot, and took initiative for this to sing as much as he could manage while playing some very complicated bass parts. The drummer has a nice voice and is open to singing, though I'm not sure if it will stick to start working out really specific background vocals if we're not rehearsing regularly. And while I did play both piano and organ on this gig (because I was also playing keys with the headlining act), I think I'd want to keep my rig more spare, generally speaking -- if not just a piano, maybe a small synth rather than a dual manual organ. So just thinking about ways to fill the space and expand the palette while keeping things stripped down (read: easy to load in and out, also ... fewer people to divide the money between).
On that note, it was nice to have such an encouraging musical success on the first performance, because from a financial perspective, this was a rough gig. An old friend touring from out of town set this show up with me months ago, and I promoted harder than I've promoted anything this year (most of my gigs have been sideman work or small local festivals that have a built-in crowd). But between the holiday weekend, the smoke in the air only recently dropping down to an acceptable level, a general lack of walk-in traffic, the venue being probably two or three weeks behind where they would have been helpful with their end of promotion (which, might I add, they took a cut of the door to pay for) and, I guess, the algorithm failing me, it was a pretty humiliating turnout. But I certainly need some things to get excited about and look forward to, so ... here's hoping! Certainly interested in thoughts any of y'all have.
Oh, and, here are a few clips from the show.
Forgive the non-embedded links; they're not all clips that I'd share publicly, but they're too big to embed and I just thought y'all would appreciate the reference point for what I'm working on (and the caliber of the rhythm section players; I still can't believe I get to work with these dudes).
https://drive.google.com/file/d/1NqYAe1NzvxYd5SZPlFfdqtU9ObuSUyXY/view?usp=sharing - "Dancing on the Ocean Floor," full song from my 2021 solo album.
https://drive.google.com/file/d/1QPe2f4brJVF_rTwyFZpEKrj9Z5REpYEH/view?usp=sharing - trading solos in 5/8! The drummer notices that the bass player and I do, indeed, get lost at one point ... and gives us a big crash on 1 to help us out.
https://drive.google.com/file/d/1lezYNDnP-lqt4KuRis_-NJzNKCZdejLV/view?usp=sharing - clip of "Verses and Choruses" from my 2012 solo album. Playing two keyboards and singing!
https://drive.google.com/file/d/1-88rsr0-S74v_6yiK6fX-BovdhqQWTqK/view?usp=sharing - outro tag/jam of "Can I Put You On," an Elton John deep cut the bass player and I learned for the 17-11-70 anniversary livestream in 2020.
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How unplugged are we talking here? Fully acoustic, no PA or amps at all?
You could try learning the bass buttons on that accordion. I haven’t progressed much past “occasional drone note” on that, but with experienced players, it’s a marvelous, almost incomprehensible thing. Quite flashy.
With mallets you start getting into things like marimbas that have some low register, but I can’t imagine you wheeling one of those around. A lot bigger and heavier than a glockenspiel.
if you’re doing a “hybrid” gig (primarily acoustic but with PA and amplification), you could see if you could find one of those old Rhodes piano basses like Ray Manzarek used in the Doors. They’re passive, like a guitar or bass, so it needs amplification, but no AC power (I’ve had one for years, a refugee from the back closet of my middle school’s music room). They have a warm, thunky tone that would be tough to cut through a loud rock band but would provide a nice, warm bottom end for an acoustic act. Might even sit on top of your pump organ without a stand.
But if you’d like to avoid the schlep, I don’t imagine you’re ever playing a real acoustic piano at these gigs, yeah? Your Nord with a split program with piano and upright bass (and maybe a tapestry hung over it to make it look “earthy”) would probably keep the vibe just fine without making the “acoustic” gigs a tougher load-in/load-out for you.
If you *are* playing a real piano, well, shoot… could you just play the bass parts in your left hand on piano and be done with it?
Let me know what direction you try to go with this! Love some creative problem-solving.
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This is SO EXCITING! Can’t wait to listen…
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Grand baby piano. The son of the son of your father’s piano.
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Yeah, supposed to play the downtown concert series in Ithaca tonight and it's definitely going to be rescheduled (second one of the month due to the wildfire smoke). It's not as bad as it was the first time, but definitely not safe to be out for two hours singing, especially given that our lead vocalist (my wife) has asthma. No way.
It's hard for it to not feel personal after the last few years of uncontrollable forces interfering with gatherings and music. Anyway I told the boss I wasn't coming into the office today. At least my other show this weekend is indoors... back to the safety of the mouth particles, rather than the fiery tree particles. 🤣
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As a fellow Wurli aficionado -- I haven't been quiet around here that I gigged mine hard up until the pandemic -- I really feel this. Even a decade ago when I was lusting after one, the prices felt out of reach, and I was lucky that my now-wife staged a Birthday Expedition to find a good deal on one that was in storage about two hours from me. eBay had them going for above $2k US without legs or pedal; it was incredible in 2015 to find one in quite good shape for $1200 *including* legs, pedal, and a road case! I lucked out. Nearly ten years later, the financial squeeze is on us all for everything, including vintage instruments.
I learned from experience the things the older folks have all said: the tuning is fiddly, the electronics are sensitive, the action is complex (which is what makes it perfect), and the sound is unmatched. I'm lucky to have a good tech reasonably close by, but it definitely requires more investment of time, money, and effort to gig than my Nord Electro. So, since assembling a home studio, and reducing my willingness to cause myself physical pain in the service of music, I've mostly retired it from live shows. But I'll tell you what -- I absolutely love playing Rhodes on my CP88, but the Wurli, while it sounds great, is definitely not the real thing. In a perfect world where someone else moves and maintains my shit for me, I'd always have a real one at the ready (next to the B3, clav, Moog, and Yamaha grand, OBVIOUSLY).
I'd certainly be interested if a company developed a Vintage Vibe-style modern electromechanical reed piano, cutting down some weight, making the tuning a little simpler, the amp less noisy, basically perfecting the designs that were abandoned in favor of digital tech. I understand this is impractical and expensive in the world we live in, much like purchasing a vintage instrument.
Then again, I've acquired some of my most beloved musical toys because some old timer (or their family) looked kindly on me and wanted an unwieldy item to go to someone who would appreciate it. I wish this for you very much!
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28 minutes ago, JamPro said:
And now I am learning that to fix the problem of no limiter on the mixer headphone output, a keyboardist in fact needs two mixers: one to create a mix of the keyboard outputs, and that mix is then sent to a second specialized mixer that includes a limiter on the headphone output in order to mix the mixed-down keyboard outputs with the FOH signal. And that seems redundant and wasteful to me.
I was feeling this same way, and I'd been searching for awhile for a rack mixer that would allow me to do exactly what you are talking about. Ultimately I caved, and instead of replacing my three-channel stereo line mixer, I also got a Rolls pm55p to mix down the keyboard stereo submix with the FOH send. And honestly, I love it, and it's much easier to deal with than another large, clunky piece of gear would have been, given my setup -- especially since I don't have to think about "which knob do I adjust" nearly as much as if I had to reach over to a larger, more complicated mixer. Just my two cents, because I totally feel you on "this seems redundant and wasteful," but I'm also very happy with where I wound up given my needs.
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On 6/17/2023 at 6:54 AM, TWizzle said:
My jazz trio recorded an album last summer and it is now out - all original tunes. Also have some of my solo synth/electronic/experimental stuff up here too (anything labeled "Pilot Program").
I'm just diving into the "Trio" album, and man, I gotta say -- what gorgeous playing and tones (the piano sound is so present and intimate, but also so lively). Beautiful. Thank you for sharing. Excited to check out the synth stuff, too.
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I posted some live material a few weeks back, but since it's record release day, I wanted to share! I had the privilege of playing keys (and doing a horn arrangement on one track) for a close musical collaborator's new original music project, Front & Main. Really fun, catchy, old-school rock tunes, with a great bunch of players on board.
Side note since I'm among keyboard players: we recorded all the basics live in the room, but on the organ tunes it meant running direct and re-amping through the Leslie afterward. It's really an experience doing those speed changes *later* -- I compared it to driving a car from point A to point B, then deciding where to shift gears after you've arrived. Anyway, hope you enjoy Look Both Ways by Front & Main.
https://frontandmain.bandcamp.com/album/look-both-ways [for download/purchase]
Or stream:
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Yeah, MIDI over bluetooth is quite wonderful, but audio over bluetooth has significant latency (for example, next time you're listening to music off your phone on your car stereo wirelessly, see how far ahead the actual track playback is to what's coming out of your car speakers {but not while you're driving, please}).
Could you describe your music room setup for us a little more? Another recent thread had some enticing stereo wireless solutions for live use, but in-studio, wired will almost certainly be more reliable. Understood if you're trying to cut down on cable spaghetti, though!
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16 hours ago, AROIOS said:
It is indeed a synth bass, likely a Minimoog or ARP2600. It sounded like an actual e-bass in the record coz its highs were cut heavily in the mix.I think they were using the TONTO system for all the synths on Talking Book. You can find the isolated tracks for that song floating around online pretty freely -- it's wild to hear the isolated bass and realize it is, indeed, Stevie ripping on a synth.
Also, props to @Stefan011 for calling out Golden Lady. That song is BEASTLY.
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On 6/16/2023 at 10:17 AM, ProfD said:
Most musicians do not organize and/or promote their own gigs. That's why they have a hard time finding gigs. . . .
Having the ability to make things happen is the reason managers, promoters and booking agents make their money.😎
I have done this or been part of gigs like this, and there are a lot of benefits. But I'd also argue that "having the ability to make things happen" is only half the battle here -- it's also having the *time and energy* to spare to make things happen! Generally, I've tried to reserve this type of thing big events like an album release. Even then, organizing PA/sound, ticket sales, facility rentals, etc *and* not having an established venue with its staff and reputation to back you leads to a lot of extra plates to spin.
I've had good luck taking the reins, and as my collaborators and our friends and followers age out of the "late night bar show" crowd, putting together our own events has become more and more appealing and beneficial. But ultimately, there are only so many jobs one person can do well.
I can play in half a dozen bands if most of the gigs are booked by others and I just have to show up. But being Engaged in the Logistics means you have to focus your efforts a lot more. It's always a tradeoff.
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Wow, do I get to be the first person to mention Stevie Wonder? [Edit: nope, I see Yannis did mention a track already...] He played synth bass on a TON of his classic 70s album tracks. Boogie on Reggae Woman is probably the Legendary Mind-Blowing Example, but also Superstition, Love's in Need of Love Today, You and I, and on and on and on...
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17 hours ago, CHarrell said:
Amen to that. Where you at?
I'm in Ithaca, NY. It's a funny little scene -- a TON of great musicians and interesting music, to the point where I think the town sort of takes for granted that live music is available to them. A buddy of mine who tours a lot more often than me, based down near NYC, once said to me "dude, how come I can get my band at least a $500 guarantee anywhere in the country, but not in Ithaca?" At this point all I can say is "I wish I knew!"
But I've found some lifelong friends and collaborators here, the chosen family kind that goes deeper than just "somebody I'm in a band with." It's a good feeling, even if it feels like a confusing uphill battle sometimes.
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I’ve been going through an interesting gigging transition period myself, between getting older (I’m not “old” by this forum’s standards at 33, but I’m no longer one of the new young guys in my local scene), collaborators having to dedicate more time to parenting, and of course Covid changing the gigging landscape. I’ve never been able to make anything close to a living with music, always had a day job, but the cover band thing isn’t really for me — I’m plenty busy playing interesting, original music (my own and other people’s), and at this stage of my life I’d rather play a little bit less and make sure all the gigs are music I would play for free (but also, uh, not play for free).
This side of the pandemic is challenging for all of us in its own way, it seems — it’s not just you older folks who are trying to figure out what the future looks like. I will say that one of the trade offs of my regular collaborators being less available due to family commitments is that I’ve been able to connect with some slightly older cats whose kids are more grown up and independent — and some of them are a level of “pro” that I’ve always dreamed of working with, and great hangs, to boot. Change is just hard! And the money part has never been easy.
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For what it's worth, I bought one of your FC7 adapters years ago and you wouldn't believe how useful it's been for me. Long after the Roland board I originally bought it for bit the dust, it now allows me to use my Motion Sound footswitch to control the Leslie sim on my Mojo. I can only imagine the labor of love running a niche business like this is. Particularly since I'm probably a little younger than your average customer, I want to let you know how much your work has been appreciated.
Hope a nice dinner is in the cards for you and your wife real soon. ❤️
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To share my experience without providing any clarity whatsoever:
One of the many warnings I read before I purchased my Mojo XT was that the FC7 was incompatible, or that it had the potential to cause issues with bricking/crashing on gigs. I used an FC7 with my Mojo for several years in various venues and never dealt with any such issue, nor any of the other issues some users have described having with the original Mojo.
Since then, I acquired one of the Crumar expression pedals from someone who was no longer gigging with his. It's sturdier and arguably more Hammond-like in its feel and its curve ... but honestly, it didn't make so much of a difference for how I play the instrument that I'd tell you "you've GOTTA GET ONE." At the end of the day, it's a swell pedal, and the handful of people I know who gig with vintage Hammond chops use a third-party external volume pedal anyway. So, unless you find yourself experiencing weird issues, don't sweat it.
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9 hours ago, Polychrest said:
Sam, if imitation is the sincerest form form of flattery, then your Back Seat of My Car take qualifies as a world-class love letter to Sir Paul. You take an obscure McCartney creation, break it down into its component parts and reassemble them in an engaging new package that illuminates just how good the original was. Lots of talent on display; lots of fun to watch.
Clap, clap, clap.
This is extremely kind and I appreciate it very, very much. Thank you.
To be honest, the last 20-plus years of my musical life have been a love letter to Sir Paul. The "world-class" part is the real trick, and I'm grateful for the kind words.
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Sounds awesome, Darren! Thanks for sharing.
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Things were pretty horrifying in central New York yesterday -- not as bad as NYC, but close. So unsettling to look into the sky and just see a yellow haze obscuring the sun. Bunch of outdoor events in town were postponed: concerts, Pride events, the usual summer fun.
Seems like we're through the worst of it -- as in, the air quality index is only three times the normal level, rather than seven times. I'm still wearing an N95 outside until the air quality is something closer to normal.
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I got myself back into a groove after a couple of months of ennui by making these one-man-band cover videos in my home studio. They're really just for me -- a chance to dive deeply into some songs I really love that I might not normally bring to a band, sharpen and show off my multi-instrumental chops, and just generally enjoy music for its own sake.
But of course, I wouldn't be a performer if I didn't want people to see my work and clap for me. So, here's a Paul McCartney cover, with me doing my best Hugh McCracken (or was it David Spinozza?) on my clavinet through my Leslie. Hope you enjoy!
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Forgive the non-embedded links; they're not all clips that I'd share publicly, but they're too big to embed and I just thought y'all would appreciate the reference point for what I'm working on (and the caliber of the rhythm section players; I still can't believe I get to work with these dudes). 
Interesting note with Leslie Simulators
in The Keyboard Corner
Posted
Neo Instruments, Dynacord Electrical Engineering, and Los Pollos Hermanos: all divisions of Madrigal Electromotive GmbH. 😉