Vito Corleone

Never played one. But let me guess. They have a lot of watts?

I guess you went beyond nose-tweaking.

I spent a year in Bakersfield one week.

It was invented in Hawaii by Joseph Kekuku https://en.m.wikipedia.org/wiki/Joseph_Kekuku The ukulele, on the other hand, made it’s way to Hawaii via Portugal.

Burns’ work is great for learning about things you previously thought you had little interest in.

Never believe anything until you are actually booked and the contracts come back! I think I learned that when I was 16! People also get tired of bands too sometimes. There are events we will do 2-3 years in a row and they go great and everyone loves us and then they don't ask us back anymore. I get it. People get tired of having the same band year after year. They want something different. Nothing wrong with that. Just part of the business.

Yep. More likely, I'll end up midi'ing it into my existing boards, but without being to access it easily, I'm better off using rack gear with presets. I'm thinking it will likely end up just being a fun toy to play with at home. But, oh, the fun!

That's pretty cool! But why only 2 octaves The mini-moog was 3 1/2.

At that price I may have to pick one up just for the hell of it. But I have hard time finding much usefulness of it being a rackmount module. Part of the whole deal of a Mini Moog was having the controls right above the keyboard and making adjustments on the fly. I suppose I can put it in a rack and somehow try to position it above a controller or another keyboard? Not very practical for live gigs though.

Haha! Yes that was it! So simple now that I know it. One of those things where I couldn’t get past hearing my own count and then once the drums came in I couldn’t turn it around. And then it bears no relation to what the vocalist is doing. It was driving me crazy. Thanks!

Thanks! I’ll give that a try.

This may sound lame but I could actually use some help on this: my band has been asked to do Rascal Flatts’ “My Wish” for a wedding this weekend. And this is one we get asked to play from time to time and have done it before. But I have never been able to figure the counting for the piano riff at the beginning. It sounds like it is in one place and then turns around once the kick drum starts. But I still can’t get it. Sounds to me like they used a loop and purposely tried to make it sound f’d up. Anyone have a clue where the “one” is on the piano riff? Lol.

Pretty sure it's him playing on the first couple of albums. As time went on he got busy with touring and producing other acts. He was cranking out those TJB records with a pretty simple formula at that point. Just get it done quick and easy was probably the attitude, I'm sure.

I was just recently listening to “Kind of Blue” for probably the 7th millionth time and one of the reasons this album never gets old to me is the way it was recorded and sounds. Another 3-track masterpiece. I don’t know how they mic’d things up for this one but the soundstage is fabulous. That they could create so much space and depth with the recording is a work of art. Using the 30th St studio didn’t hurt either. Lol. That room, an old church, was crazy good. This is another recording where there is a “surround” version available that spreads the 3 tracks across the front. On this one they did a trick where they played the album back in a studio and placed two mics in the back of the room and used that to create ambient sound for the rear speakers. You don’t really anything coming out of them specifically, but it is just enough to give you more of a feeling of being in the studio with the band. Too bad 30th St is no longer around so they could have done it there. But I personally like the result.

I’ll need to pour another glass of wine if I’m going to read THAT tonight!

Oh that’s true. We like what we are conditioned (grew up with) to like. That’s not necessarily a bad thing. That’s just human nature.

Yeah, but our ears have our brain to process what we hear. A phenomenal listening apparatus we are born with!

I do think it must be a “less is more” thing. I think that even by the 70s, a lot of these recordings were starting to lose that “magic”. Too much processing gear to play with? Too many tracks and various micing techniques? Three Mics and the Truth.

Yeah, I’m not really talking about modern compression techniques. That’s kind of obvious why recordings done that way sound bad. I’m just blown away by how they got such a great sound out of a full orchestra with only 3 mics.

It doesn’t mention if they used one or not, but it sounds great. Yes. Sounds like I’m right in the middle of it. Yes. The performances and arrangements for sure. I do like orchestral performances from this period. More “pastoral”? Can’t think of a better word. I hate using words to try and describe music. But the recording is superb. The room, too, will have a lot to do with it of course. But the Santa Monica Civic Auditorium? Who knew! Lol.

I don’t want to make this a digital vs analog debate—although maybe that’s part of it—and I definitely don’t want to discuss modern “brickwalled” recordings and masterings— but I’m so often amazed by how much better recorded older stuff seems to be. Right now I’m listening to this 1959 recording of Violin Concertos by Jascha Heifetz recorded and released by RCA’s “Living Stereo” series. These were recorded on 3 track tape with just 3 mics placed in the studio. The liner notes say it was probably done using Neumann U47 and M49/50 microphones. This particular release is 3-track with the original 3 tracks spread across the 3 front speakers. It sounds just amazing. Like I’m in the studio. So much warmth and depth and presence. How did they do it so much better back then with older gear?

137th annual convention?? Who knew they had audio conventions in 1877?

Been using a pair for years in my home studio. Love 'em! Probably no better set of cans for the price.

[ATTACH=JSON]{"data-align":"none","data-attachmentid":"32561816","data-size":"thumb"}[/ATTACH]