Authentic horn sounds & live playing advice

[Bill H.]

This is kinda getting off the subject, but here's what I get feedback on, in order of importance:

 

1. Vocals (times three!)

2. Piano

3. Lead work

4. Organ work

5. OK...I do have this solo sax thing I do that people seem to like. I take my left hand off the piano and use pitch and mod to make it as expressive as possible. But this really falls in the same category as leads, because that's the treatment I give all my leads.

 

More regular horn parts, like in Heart of Rock & Roll, Midnight Hour, Soul Man, Get Down Tonight, Giving it up For Your Love...(to name a few that I do)...I do what I can because I'm busy covering other parts. And the only time I get comments on them is when I blow it and don't get them in. So maybe I'm not doing a good enough job on them, but honestly, that's the best a guy can do when you're playing keys in clubs and wearing many hats.

[ClaviaMech]

The notes in section parts aren't closely spaced like a one hand triad on a piano/organ, the notes are spread out and has to be played with two hands.

 

I use pressure aftertouch to emulate sfz expressions.

 

That's why it pays to pay close attention to the instruments you are emulating. You can LEARN from this stuff and apply it to your technique in your non-imitative synth patches.

I'm not talking about imitating horn technique with a synth patch. I'm talking arranging these parts to be played with synthesizer technique & patches. Yeah, I know, "but it won't be the horn part anymore" .... and that's exactly the point. After all, our original poster is having to pull double-duty in his band ... the band gave gim those notes and he should make them work for him, not the other way around.

 

By changing the conditions of the problem, the solution works without having to buy a new keyboard, "make do" with brass samples you're unhappy with, or sacrifice the organ/piano/etc. parts to cover the horns.

 

I mean, unless this is Vegas or a Country tour, where you're expected by Management to play every little note perfectly, there's no dishonor in rearranging these added parts.

[Blue JC]

Maybe it's my limited synthesizer skills, but I'm having a hard time imagining a synth patch that has the presence to do what you're suggesting.

 

For instance, there's a part of our show devoted to Motown and Stax medleys. If I take a tune like "Hold On, I'm Coming" that has both a signature horn line in the chorus and a signature horn soli in the bridge, what would be "in your face" enough to cover that with the authority it needs besides horns?

 

I'm willing to try anything but I may not have the necessary programming chops to pull it off.

 

Thanks,

JC

[Bill H.]

Well, I think you're on the right track, judging from my own experience, the material you're doing, and your gig report. Probably like you, I've got a synth brass sound for the 80s stuff, but for Motown, cheesy as it may be, sampled horns fits better.

 

Like many of us, I went through a period where I tried to do everything onstage. But in trying to do more, things got lost...including my desire to come to work. Probably the best lesson I've learned over time is to reduce things down to a level where you're comfortable performing. You'll enjoy yourself more, and your playing will sound better as well.

[Pop]

I saw McCartney perform in Houston a couple of weeks ago and they played "Got to get you into my life, Penny Lane, and Magical Mystery Tour" In my opinion, the keyboard player "Wix" did an outstanding job simulating the horns on those songs. I'm not sure of the equipment he uses, but the sound was on the money.