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flemtone

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Everything posted by flemtone

  1. Q: How do you get a bass player to turn down? A: Put sheet music in front of him. -As a bass player, I say....bring it on, ya pansies.
  2. "Find the Cost of Freedom" from CSNY - '4-Way Street' "There is a Reason" from Alison Krauss and Union Station's album 'Live'
  3. My shot is for 'Swingin' the Blues' by the Count Basie Orchestra. The subtlety of the mix on " Li'l Darlin' " is phenomenal to me. After that, I'd go for Sinatra's "In The Wee Small Hours" as a recording masterpiece.
  4. I wasn't aware of it but, thanks to you, now I am. Set to record for future binge-a-thon. Thanks for the heads-up!
  5. I stay far far away from Behringer. Too much IP theft in their early days for my taste.
  6. So no school orchestra can play Dvorak's "New World Symphony" (aka 'From the New World') because a theme from it was originally used for the spiritual 'Going Home'? Brian, by your argument, 'From the New World' would be banned. The lyrics aren't sung in Dvorak's interpretation either. I have issue with this decision - not from a religious or constitutional perspective, but from an artistic one. Virtually all music is influenced by the composer's identity as a person, including their personal history, their views on social issues of the day, their morality and their faith (or lack thereof). When one starts banning a piece of art (in this case, a theme without lyrics) because of its perceived intent, the next logical step is to view the composer in the same light. Next, Dvorak's other works could be judged by the same broad brush that currently paints Nugent or Bono as 'musical extremists'. The art is no longer the topic of judgement, but the composer is. I find this to be a distressing slippery-slope. The theme to 'How Great Thou Art' is a traditional Swedish melody. Adding the words was done long after the original melody was composed. I just find it troubling that a melody can be refused because of later additions to it (that aren't being used in the disputed presentation).
  7. It'll be good to see you over at the Old Homestead, Craig. A few of us old salts (and a few new souls) have been keeping the Lowdown active - it'll be good to see a revitalization of the MP forums.
  8. Cool! Another entire group of people and musicians to look down on! Awesome!
  9. Grateful Dead: Workingman's Dead (1970) American Beauty (1970) Grateful Dead (Skull & Roses) (1971) Europe '72 (1972) Michael Jackson: Off The Wall (1979) Thriller (1982) Bad (1987) The Band: Music from Big Pink (1968) The Band (1969) Stage Fright (1970) Cahoots (1971) Rock of Ages (1972) *note: Next should be 'Northern Lights/Southern Cross' (a masterpiece, imo), but 'Moondog Matinee' got in the way and spoiled the sequence.
  10. Not an engineer, but it would make sense to get different 'ranges' to fill the vocal overlaying. A bit more 'room depth' actually recorded instead of modified digitally or via effects. That's my theory, at any rate. Take it for what it's worth.
  11. Y'know, this would be a much better forum if you all would take a break from acting like cretins to each other. I won't bother to come back.
  12. OK. The new tracks were really good. I noticed, on 'Purple Rain', that you were pushing hard to hit the high notes (the rise in 'in the purple rain'). That segment went a bit flat. Obviously you're very skilled as a vocalist but you might wish to work on increasing your upper range a bit more. Breathing can help, taking good care of your throat and vocal cords can help, but mostly it's practice-practice-practice going up into that upper register without relying on a falsetto (which sounds fine, by the way). The live track was interesting. Good vocals, good stage-presence and a sweet solo really works well for you. The quality of the recording is secondary - the performance itself was very well done. I'm glad to see you on stage - I think that's a pretty natural environment for someone with your talent. Great tracks. Thank you!
  13. Marcin, I finally hit the additional Youtube links you posted. Very well done, and your guitar work is impressive as well. Your phrasing and guitar work put me in mind of one of my favorite singer/songwriters, Richard Shindell. You might consider checking out his work. I have no advice for you - I don't believe you need any that I could offer. If you're not currently performing for an audience, please do so. If not, please continue to record and post your new works here as an example to singers who frequent this forum. I look forward to hearing much more from you in the future. Thanks for a most enjoyable listening experience.
  14. That is a beautiful rendition of that song. Your pitch is right, the mic technique is very well done and there's just the right amount of emotion given to the lyrics. Thank you for a very nice mix! The song doesn't really test your range, though. If you can bring the same emotion to a wider scale and your breathing technique is practiced diligently, I don't see anything that would keep you out of the studio or off a stage provided you have the right material for your talents. Very nice. VERY nice.
  15. Thanks, Davie. It just kinda burned me that a new poster looking for advice walks into a cat-fight. C'mon, kids - let's play nice.
  16. I don't have reason to look into a poster's history - I take posts one at a time and judge them on their merits (or lack thereof). The advice given was similar to my own thinking (as I posted). Whatever has happened in the past between members finds me sublimely indifferent. If you have advice, give it freely. If you don't, learn from it. If you just come to cut somebody down, that says much more about you than the target of your ire. Take it as you will.
  17. I've played in bands for more than 40 years and sung for much longer. I don't find anything incorrect in the advice given by kickingtone. I'm surprised - there seems to be such rancor between posters on this forum. I've always gotten along well with fellow musicians who perform at any level, be they just learning or stadium performers. I don't understand the hostility here. Somebody want to clue me in?
  18. The problem could be one of many things: -you have difficulty singing a different part than the melody -your harmony doesn't jive with the vocal melody you're trying to harmonize -your harmony doesn't jive with the underlying chord structure of the song -you're just not able to do it. For the first, your best bet is to isolate the melody vocal and practicepracticepractice your harmony without the distraction of instrumentation. Davie's suggestion is spot-on. Do this first. For the next two, you'd need to confirm the validity of the harmony with the basic structure of the song, both vocal melody and chord structure. After working on the first area (see above) and you're comfortable with your harmony part, try adding in a single stream of backing instrumentation (something chorded, like piano or guitar). If you don't hear a conflict, continue to add layers (bass, percussion, horns etc). Leave the solos out of the equation. If you find that #1 (above) just isn't working, you may not have an 'ear' for harmony. There's a great deal of difference between writing a harmony and being able to perform it, even in the studio. Some people can do it with ease, some people really struggle with it and, unfortunately, some people just can't wrap their heads around it for a variety of reasons. This does NOT make one a bad singer! Some of the greatest singers in history couldn't harmonize their way thru 'Twinkle Twinkle Little Star'. It's a gift that not everyone possesses. Just like someone who plays guitar shouldn't disparage themselves because they aren't SRV or if a keyboardist can't play like Keith Emerson, this doesn't diminish their talent. The main thing is practice. The GREAT thing is that you carry your voice everywhere you go. Sing everywhere. Learn control, learn breathing. Listen to your voice and make it do what you want.
  19. PLG, I like it. Then again, I'm a big fan of Agiles and the Rondo Music B&M was about a mile from my office here in beautiful NJ. When they were closing the store and going strictly on-line, they had a clear-em-all-out sale. I got an Agile spalted green LP, a red semi-hollow for my daughter and three basses, one a fretless 5-er in natural wood. All needed severe set-ups but none cost me more than $125. Still got 'em. No problems with the build or the materials. I loved that place.
  20. My my my...! My shipping address is... That's a beauty, Phil.
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