Recording - Tumblr Posts
This picture was taken the day I recorded "I See Love" in the studio.
sometime in the late 90’s…
can i let you in on a little secret internet? i dont really like recording. dont get me wrong i love records and i love making music but there is something so definite about recording that i find slightly overwhelming. its hard when you have been living with an unfinished idea for months, sometimes even years. its been going round your head in so many different permutations and then you are given an opportunity to crystallize it forever, knowing that it will always exist for people even after you die. you will never be able to change it again, that thought itself can be quite intimidating. knowing what to add to a song to make it better and not worse is a very delicate thing. so when we started making this record i promised myself that i wouldnt listen to the songs during playback. i wanted this whole process to remain fresh for me as it could be. it was only when i was alone in the studio this weekend trying out vocal ideas that i was able to take stock of where we are at right now in the process. im so glad that i did not immerse myself in the music like i have done previously. this way i was able to hear things that i have never heard before, things that inspired me in different ways. i realise now that it is the best feeling to be able to be able to experience your own music in the way that strangers will experience it. although recording is definetly the most challenging part of the process, at times it can also be the most magical. kele
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Enregistrement à Budapest, 2018. photos : András Makay.
Every couple days
me: I feel great! Maybe I can record/stream something?
*puts on headset, opens OBS*
*stage fright sets in*
me: Yeah maybe not, I'm not feeling too great...
*puts headset away*
So I'm starting a YouTube channel featuring my guitar covers these being the first two but I'm unsure if I should upload my own drawings for the uploads or if I should just do what I did on my SoundCloud and use the official art. What would you guys like to see? Also I'm re-working the drums for reborn mechanics a little bit
With my computer down I can't do much of any recording. So I'll show you some concepts I had going. This one I can show because I will be going in a slightly different direction than this. I was planning to do the solo in this song on my guitar as well but I never got around to it. So here is an unfinished (and possibly scrapped) version of wily stage 2 from mm8. I'm planning to rework the song entirely. Starting from scratch. I may eventually somewhere down the line finish this as an "alternate version" but until then enjoy peeking into my brain for a little bit 😂
the rapline
© moreloveforhobi
Silas Bassa
I’ve had the album *Dualità* in my queue for some months but just getting around to listening to it, in part. The playing is not particularly distinguished or distinctive, but it’s listenable enough. What makes the album worth putting on the table, perhaps, is the programming. It’s fragmented, to be sure, opening with a mere movement from the Messiaen vingt regards, multiple interjections of the player’s own work, multiple iterations of Glass etudes, and so forth. In other words, with the exception of a complete offering by Gorecki, a potpourri. He seems to have done much the same with his first album, Oscillations. So that’s fine, it all hangs together well enough. And the serviceable playing doesn’t get in the way of the umbrella idea which is… what exactly? I don’t know. The duality idea means something, possibly. A clue to the intellectual project. There is a brief verbal monologue about midway through the program spoken by a woman (Nita Klein) in French. It is titled “le gibet” and precedes Ravel’s famous work of the same name. But I find no answers here. Instead, presumably the preface to a concert recital of these same pieces (minus the monologue), Mr Bassa tells us:
« Dualitá » est la fusion de 17 pièces, dont cinq de ma composition, nées d’une seule énergie créant l’unité. Inspiré de mon premier album « Oscillations », j’ai souhaité explorer ma nature créative face à la dissonance des éléments opposés et complémentaires qui représentent la dualité.
« Le regard du Père » d’Olivier Messiaen ouvre ce concert. Le Thème de Dieu place l’homme face à l’immensité de l’univers et aux questions que l’inconnu provoque en lui ; « Kleinstücke », ma première composition, essaie d’y répondre. « Santa Fe » nous surprend avec son mouvement circulaire qui oscille entre l’inquiétude de l’être et son désir ; la vie se met en marche. La sonate de Gorecki, œuvre centrale d’une frénésie éclatante, installe la division et la lutte des contraires qui se métamorphose en chaos.
Le Gibet, extrait de « Gaspard de la nuit » de Maurice Ravel (inspiré par le poème d’Aloysius Bertrand), ouvre la deuxième partie du disque avec le thème de la mort. C’est dans ce désespoir qu’arrive « Réminiscence », comme une réconciliation entre l’ombre et la lumière. Une sérénité inquiétante encore traversée par l’effroi se déploie dans « Eternità ».
Ma dernière composition « Into the rush », exprime avec espoir et force les états d’âme vécus jusqu’à maintenant et la perpétuelle recherche d’un équilibre pour atteindre la non-dualité qui demeure en nous : notre vraie nature.
So the big idea is unity, fusion. OK. There you go.
Takahiro Yoshikawa’s Debussy
Takahiro Yoshikawa is a piano player from Nishinomiya, Japan who released last year (2017) on the Ypsilon International label a very standard Debussy program: the Bergamasque, Estampes, both books of Images. But the playing is unique for the repertoire. And very enjoyable to my ear, not only for its novelty, which is remarkable, but too many players, to the point of stereotype, seem to have a built-in aversion to pairing Debussy with clarity. Not so Mr Yoshikawa. The playing has all the loveliness it needs without automatic over-pedaling. I cannot think of anyone other than, perhaps on occasion, Gieseking, possibly Michelangeli, with anything like a similar approach. And lest anyone think perhaps his foot is broken, he can certainly depress the sustain: cf. Estampes, though, to repeat, appropriately and without heaviness. Rather than trying to impress with the evenness of harmonic arpeggiation, the ending of Pagodes is slowed and articulated, bringing a whole new sense of attention to the coda. Additionally, while I enjoy a whirlwind tempo in Debussy as much as the next guy, it’s not always necessary. The Passapied here, for example, is played with delicacy and restraint which, paradoxically, gives it power and strength. I won’t go into an analysis of each work, but overall simply to say it is worth many listens and a wide audience. I’ll provide the former and hope for a more perfect world that makes possible the latter.
From my music recording class
The grand ole' Winnie Lightner belts out this hot number Take It on the Chin in the now lost film Hold Everything (1930) It was also in color... too bad.
It Seems to Be Spring from Let's Go Native (1930). That movie survives.