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Vito Corleone

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Everything posted by Vito Corleone

  1. I remember reading once many years ago that the key of Bb is the most appealing to humans. I have no idea if that is indeed true or what the science might be behind it, but I’ve never forgotten that. In fact, a band I was in at the time was writing a song we wanted to be very upbeat and jaunty (it reminded me at the time of Queen’s “Don’t Stop Me Now”) so we purposely put it in Bb. It didn’t become a hit (so much for that theory perhaps?) but hopefully it made the few people that did hear it happier in that key. in the case of Madonna, I would argue that the nature of those songs required a higher pitched voice and one that was in vogue (pun intended) at the time. So that the producers would have worked to make her voice sound as fashionable as they could is not at all surprising. And if the technology made it easier, of course they would have used it. She’s not a baritone, however. That’s a lower-register male voice like, say, David Bowie.
  2. Well it’s all relative I suppose. I don’t generally prefer to hear songs sped up that I’m already familiar with at another speed or pitch. And unless you have the “correct” version to compare it with, how do you even know it’s been sped up? And what makes a song that is sped up more appealing? The faster speed? The higher key? Vocal cords that are vibrating a bit faster than they would naturally otherwise?
  3. Those reasons, yes. Also sometimes you might be overdubbing something like a piano that can’t be easily tuned to match what’s already on the recording
  4. I hear ya. But for me it isn't so much about being in it for the money as not wanting to waste my time. I like pickup gigs and I don't mind rehearsing if it's called for. What I DON'T like are the guys who call and say they've booked some gig 8 weeks and from now that will pay 40 bucks and a couple of free drinks a man and want to get together a few times to rehearse a set list that is mostly Brown Eyed Girl and Sweet Home Alabama type stuff because they want to make sure they are 'tight'. That's where it loses the fun aspect for me. Let's just play it out and have some fun. Otherwise, make it worth my time.
  5. I think that probably every wildly successful musician has suffered from delusions of grandeur at some point. To be hugely successful---especially those have broken new ground and were considered visionary---how could they not have? And for every one of them? There are probably 10,000 who simply suffered from them. Who had the ideas but with no concept of how to make them work or no understanding whatsoever of some very real-world limitations.
  6. My experience is they most want to see that same hackneyed band - lip - syncing - on - stage - but - pretty - obviously- not - really - live video but shot really well that just about every band has been doing for the last 10-15 years. At least that’s the minimum. The bigger agents will send their bands to a videographer who will to essentially the same video for all the bands and make them all look basically the same. They aren’t really looking for much in the way of creativity or getting out of the box it seems. If you’re going to give them something different it needs to really be a step above. If you’re going to give them actual live video, the audio quality needs to be studio quality. Shot-using-your-phone isn’t going to work.
  7. Bohemian Rhapsody wasn't a flop when it was released. It was a huge hit. But the critics didn't like it, which was what the movie portrayed. The critics never liked Queen, and they didn't like this movie either. F' the critics, I say! The history is fairly accurate with the biggest license taken with Freddie telling everyone he had AIDS prior to the Live Aid concert. The truth he is didn't know (or at least didn't tell the band) for a couple of years later. He WAS ill the day of the concert and his doctor advised he not perform so as not to damage his throat. Whether that was AIDS related or not, I'm not sure anyone knows for sure. Lots of controversy among fans about the dramatic license taken with that. Also, some of the dates of when the songs are shown to be written or performed are not correct. For example, the movie implies that "We Will Rock You" was written around 1980 when Freddie had the short-hair look of the "Another One Bites The Dust" period. Even looks like those two songs might have been on the same album. WWRY is from 1978. I'm a big fan of the band but had no problem with that stuff. But I also understand that certain sacrifices have to be made so a movie can flow well. And yes, Freddie and Brian were as good as they were portrayed.
  8. When you are doing it to “fill time”, then you are doing it too much. If it is flowing and feels like part of the set and is working well, you should know it instinctively. If you’re forcing it, or if the audience or the rest of the band is looking at you to get on with the next song already? Then it’s gone on too long.
  9. At least you’re having an open dialogue. The club owner seems like an up-front and reasonable guy. Bottom line is “live music” is either enough of draw for a venue on its own that they are able to pay a good chuck of what “live music” brings in on its own to the best acts they can get for that money, or the act can bring in its own crowd. Ideally, it’s a bit of both. Back in “the day” I played full time in a “circuit” band who was among the highest paid because, in addition to playing venues that already could pay bands pretty well as they were well-known “live music” venues, we also drew our own crowd. Not friends of ours we had to ask to come out and see us, but a fan base we had built up due to repeated live performances. To a large degree, I don’t think that this has changed all that much. It was never enough to ask for the top dollar from the venue simply because we were good musicians or had a lot of professional experience. If all of that didn’t translate into a higher ring for the venue than the crappy band that played the week before, they wouldn’t have cared less how good we may have been. All you probably can realistically do in this case is, if you truly believe that your duo is a better act that the audiences will appreciate (i.e. stick around longer and spend more money) than you as a solo, then offer yourself at whatever-rate he’s willing to pay to try you out and then, if after a few weeks, you see an increase in revenue at the till, you can ask for more. But if he isn’t going to be able to make anymore with a duo than he is with cribbage night?
  10. The problem here is you're asking for "innovation" on old products. why SHOULD there be innovation when it comes to electric guitars, PCs or microwave ovens? Those things were only ever innovative to the degree they were completely new. Different shapes or keyboard layouts are just bells-and-whistles. Innovation comes when we see completely different technologies and products. Something that makes everything that came before obsolete or at the very least creates it's own space in the marketplace. Microwave ovens didn't replace conventional ovens but every new home now has a built-in slot for one. Powered speakers didn't completely replace traditional amps-and-speakers---at least not yet! Digital mixers have probably all but replaced analog models? THESE are innovations because they create a new niche or represent a major leap in the technology. But simply trying to introduce a new body style on a guitar? That's just fashion. not innovation.
  11. The problem with this assessment is that the Oscars, in particular, are constantly derided for only recognizing "art" type movies and not what is generally popular. If they were all about promotion and advertisement, then the latest Marvel Comics blockbuster would win "Best Picture" every year. Every industry has their "awards" convention. The only real difference is that the Oscars, Emmys and Grammys are televised. But my guess is that the National Association of Realtors annual convention and awards are just as self-congratulatory. I have no problem with any industry that wants to recognize itself. To the degree that the Oscars are the cinematographers nominating the candidates for Best Cinematography, costume designers for Best Costume Design, etc. and then the winners selected by people who all work in the industry, then I not only don't have a problem with it but think it makes more sense then things like the "Peoples Choice Awards" which are already reflected in sales figures.
  12. I've got several video loops I want to send to a projector and be able to switch between them to project behind the band for various songs using a footpedal. Right now I use a midi footpedal to control DMXIS software on a laptop to run the DMX lighting. I'm thinking of a similar setup to control the video clips. Is there a software available to easily do this? I don't think DMXIS will do this.
  13. I wasn’t familiar with anything by King Crimson prior to “Discipline” (and that’s pretty much a completely different band anyway) until about a year or two ago. I now own all of the earlier albums.
  14. On my iPhone, there is a magnifying glass in that spot. I guess it is some sort of code for “search”?
  15. Yes. Nothing screams “keyboard virtuoso” like being able to hold down a single key and letting the LFO play the bass part for you.
  16. Well, the first “vault” release — “Piano and a Microphone 1983” I thought was pretty fabulous! I hope they keep coming! Obviously there’s not going to be some sort of “Purple Rain II” lying around in the vaults. Like with Hendrix and everyone else, he released all the stuff he thought was the best and the rest are leftovers. But I still want it anyway!
  17. I don’t think you can beat the touch and feel of the Yamaha keybeds for the money.
  18. It’s really cool to get inside these sessions with all the outtakes and the separation heard on the 5.1. As you probably know they did sometimes 100 takes of these songs and drove everyone so crazy that Emerick quit in frustration part way through leaving Chris Thomas to finish. Reading a interesting interview with Martin. He said that after a month of working on the remix he realized he was getting it “too clean” and that he was making The White Album “sound like Steely Dan or Dire Straits” and then went back and started over so that the mix would retain some of that grunge that is part of what makes it The White Album. One of the things I’ve always loved about it is that it doesn’t really sound like any other Beatles album. But I would have enjoyed hearing what the super-clean version sounded like!
  19. It's amazing how good those original multi-tracks sound that probably haven't been touched in 50 years (other than what Giles did for the "Love" soundtrack a few years ago.) I read somewhere (but it was second hand so I won't completely vouch for it) that he went to McCartney's house to pull the acoustic guitar bit that is just before "Bungalow Bill" off his mellotron. If that's true, that still sounds really good too for what is really just a old scrap of tape that has been sitting around for 50 years at Paul's house.
  20. It was probably an 8-track then. I just presumed 4 because of the time period. They are interesting in that they double-tracked the lead vocals on almost every cut. Seemed an odd thing to do for a demo, but I guess they were probably just having fun with the new machine. And I don't hear anything on it that sounds like they are really utilizing all 8 tracks. It's pretty much all just the 3 of them sitting around strumming acoustics and singing and Ringo in the background keeping time with a tambourine and on boxes or a coffee table or whatever.
  21. Also included in the box set are the full "Esher Demos", which were the four of them running through all the new songs they had written while in India at George's house on his new 4-track he had just set up. Basically just acoustic guitar - and -vocal run throughs of most of the songs. But nice to hear them all having fun with the material.
  22. That is one of the outtake versions on the 4 discs (!!) of outtakes and demos. It's a cool version for sure! Spotify, I think, would just be playing the new stereo mixes, and I haven't listened to all of them yet, but I haven't heard anything significantly different on them. Mostly just things mixed a bit crisper. Kick drum up a bit and stuff like that.
  23. The 255 is very nice. A little more than I wanted to pay, which is why I've been hunting around for "Best under a grand" digital piano I can find. As with most things in life, you get what you pay for. So you have to go into that knowing you're looking for what's the best fit for the price and the compromises one is willing to make. If I could find a used P255 somewhere for a good price? I'd be a very happy man.
  24. Thanks for the recommendation! I'll check out the P125! I'm not really interested in midi or a lot of sounds for this board. Other than maybe a Rhodes patch. Action and sound (including sounding decent on its own without having to go through an amp) is all I'm looking for here. For stage I use a MOX8 which I like very much. Great 88-key full-weighted synth for the $$.
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