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Steve Nathan

MPN Advisory Board
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About Steve Nathan

  • Birthday 11/30/1999

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  • homepage
    http://www.stevenathanmusic.com
  • occupation
    Studio Musician
  • Location
    Nashville, TN
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    MPN Advisory Board

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  1. I assume this is a current interview. How nice to see (my Armenian brother) Omar doing so well. πŸ˜ƒ
  2. My time touring was brief and a long time ago, but I remember that it was always the show producer or network that insisted on covering logos. I never did it myself. In the late 70s, I played The Midnight Special, Dinah Shore, Merv Griffin, Tonight Show and a bunch of other TV shows, and they all covered the Brand Names.
  3. A friend once described this kind of music as like being in the ring with Mike Tyson. You can't help but be impressed with his technical skills, but before long, you're on the ropes in the corner and he's just pummeling you non stop.
  4. I sometimes find that doing non-musical work (recently I built my daughter a horizontal fence), takes over my brain and gives my musical grey matter a little break. Pretty soon, I've got the fence figured out and the music starts flowing again. I also like to take simple common tunes (Over the Rainbow, Twinkle Twinkle, etc) and doing re-harms.
  5. Mutt saw Shania in a bikini at one of Harold Shed's pool parties and apparently decided to both produce and marry her on the spot! I doubt he was thinking of Rock vs. Country at the time πŸ˜‰ I did one record with Mutt and though I initially found his process unbearable as a player, once he let me play B3 on a track, he kept me there and left me to my own choices for the rest of the sessions. I did learn a lot about Production from the experience. I was never a fan of his records, but you couldn't deny their success.
  6. The piano you heard at the beginning of the Tony Bennet tribute was coming from the Tony Bennet video. Probably the great Ralph Sharon. Stevie played after that.
  7. I don't know. I had 3 kids who all banged on the piano. At 18 months, none of them played a G with their left hand and followed it by spreading their little chubby fingers into a perfect G triad with their right. Even after he bangs on that F# that people say stops the video, his left hand moves to a B minor triad.
  8. Curious to see what this will be. Used, but I paid $50 each for a 200 and a 200A in the late 70s, and $100 for my 126. Darrel Combs and Tom Bromfield (two of the greatest techs ever, sadly longer with us) took parts from both 200s to make the one I still play today (which has been called "the best sounding Wurlitzer I've ever heard" by many of the world's best engineers 😊).
  9. Just read this, and scribbled the following. I'm sure you guys are way past this, and numbers don't translate for most non Nashville players, but here's what I scratched out.
  10. $150! When the Summer shows were in Nashville, any member of the Musicians Union could attend for free. Of course, for keyboarders, those summer shows were barely worth the cost πŸ˜‰ Then again, seeing Mike Martin and Dave Bryce always made up for the lack of gear wow.
  11. Sad news. I only worked with him once, on Mark Knoffler's "Cannibals". He was a force of nature.
  12. It costs me $500//year to insure a $50,000 piano from a house fire or other disasters. Are you suggesting that, I should set another $50,000 aside in a bond of some sort instead? I'll take the $500/year peace of mind. It will take a Hundred years to have paid the Insurance company more than its value.
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