It's really too bad Europe isn't around any more, because this dude would fuckin' OWN in that band. The description for the video says "Playing wicked fucking solo on the keyboard totally origional ... fucking fast." [sic] He forgot to mention "tedious, sonically uninteresting, and never mind the ubiquitous grace notes."
Thank all the music gods that this sort of thing has gone away. At least for keyboard players. Anyways, I'm gonna be out of town for the next three days, as I have to help my mom move across a couple-three states. I may be able to post again before Tuesday, but don't count on it. In the event, this is an open thread, and the topic: is there still room for virtuosity (not counting the above, of course) in modern music? Many forms of music, including almost all electronic music genres, require little actual playing skill in order to make a perfectly viable product, and with editing and quantizing, you can get away without knowing how to actually play in virtually any form of music these days. Has skill in anything but editing/programming seen its last days?
We are happy for informing you free of charge that our scope has been
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I don't have the faintest fucking idea, but I think that perhaps all my base are belong to them or something. This is the sort of email you get when Eric Barbour is mad at you for something he thinks you might have said about him. But I'm fairly certain that there's nothing about Metasonix in that letter.
Anyways, we've gotten a couple feet of snow or whatever, and our power keeps going out. I suppose it could be worse. The town of Detroit (Oregon, not Michigan), which is 19 miles up the road from us, has gotten 150". That's a lot no matter how you look at it.
Long story short, until this weather event cools down (pun intended), I can't even keep my computers on for more than a few minutes at a time, let alone devote the surfing necessary to bring something incredibly prosaic yet somehow touching to this page like I normally do each and every god damned day of my life, in my ultimate quest to make your day better, as if that was important to me.
I don't even own a fucking snow shovel. I live in the Willamette Valley, for christsake.
So, until this is sorted out by the KOIN News 6 Weather Alert Team, you're on your own. This is an open thread. Don't break anything.
1. "Hey, could we get that reverse reverb effect on the vocals in this one part?" Bands that were used to recording on ADAT, when suddenly presented with a 2" machine, magically recalled everything they ever read about Rodger Bain, and had to have at least one Stupid Tape Trick. This is usually the first that came to mind. No problem, except you have most of a mix up by the time this idea comes out, and you need spool the whole roll twice (because, naturally, it was on the first song of the three that would fit on a roll of 2" at 30 ips.) Then SMPTE comes blaring out the foot channel, and, well, whee....
2. "Hey, let's do a reverse guitar solo on this." Okay, forget Rodger Bain. Now we're getting in to Chas Chandler country. (Or was that Eddie Kramer? I forget.) Anyways, Stupid Tape Trick #2, see above. Nowadays it's easier, if you can get it through the dumb-ass guitarist's head that they have to start big, end small.
3. "Hey, can I double this vocal track?" It's far easier to get a thick vocal sound from a bad singer with an H3000 than it is to get an Eminem double from 'em that is anything approaching usable. This is the sort of thing that makes the studio manager's eyes light up. (And the engineer, if he's hourly.) I think John Lennon should be heartily thanked by every studio owner in the world, since his ability to double his own vocals is singlehandedly responsible for more wasted studio time than probably any other factor.
4. "Hey, I think this track needs some percussion." Sigh. Nobody but percussionists can actually play percussion worth a shit. See #3. If you own a studio, and you want to increase your hourly billing, just leave some maracas and a tambo lying about the control room.
5. The various "I know everything about my instrument" comments, which we'll lump in to one category, else I'll go on all fuckin' day. "I replaced the heads less than 10 shows ago!" "These strings are broken in now!" "Can someone hit an E?" "Does anyone have a pick/pair of sticks/tuner?" Etc. ad nauseum.
6. I'm not sure how to word this one in a simple catch-all phrase, but my personal biggest pet peeve is The Part That Can't Change. This is invariably the foot, but it could be just about anything. I'm a fairly heavy-handed producer, and I could give a shit about any part at the expense of the song; very few musicians feel that way about individual parts, so this is usually the biggest struggle I'll have. Back when I was producing shit industrial bands, after we spent three days turning their Master Tracks Pro Atari ST files driving their Zoom Samplemaster or whatever in to something that everyone else in the world could deal with, the arguments about the kick drum parts would start. "You know, you don't really need to put a foot on every 16th note, dude...." And away we go.