Jazz-Sax, all things Jazz and Sax
The Muppets have performed with many, many people over the years. People such as Buddy Rich (one of the best!), Stevie Wonder, Cab Calloway, Johnny Cash, REM (I love this one too) and Squirrel Nut Zippers. But the best has to be this one:
I think you all would agree as well.
I have had the pleasure the last few week to work on mixing a big band that I play in. We recorded 20 something tracks at a concert, and I was able to obtain the Pro Tools session, and set off to salvage the recording session. We recorded twice, and supposedly the second session was better, so, they have been mixing that in the studio. However, the vocalist who performs with us did way better the first session. It was a good way to get your feet wet with Pro Tools, and the whole mixing thing. I’ve always wanted to do a big project like this.
After some cutting, balancing, EQing, etc, etc, I had a fairly good mix happening, but it really lacked something. That something was a good reverb. I was using D-Verb, Pro Tools reverb. Not really all the great. Ozone 3 has a great reverb that I have been using (LOVE Ozone 3) on stuff, but it didn’t seem to do the job. What they were using in the studio was Altiverb, an amazing convolution reverb program.
I’m not going to do an in depth review of it, but what I will say is that this program made everything sound better. The right space, and the right amount made all my mixes finally work and pass the test with various band members. It adds that quality to sound that……it is not easily put into works. It’s the gel, it’s the glue, it’s the stuff. The right reverb just makes it work, and Altiverb is that sort of reverb. True, it was a lot of money, but it makes everything sound better. Even midi mockups sound more realistic now.
Highly recommended. 9.5 out of 10. .5 deducted for the use of iLok, which I’m beginning to hate.
The first interesting thing is a tutorial by Emusician magazine about Resonance and Radiation. Interesting information about how various woodwind and brass instruments sound radiates out. It is more geared toward recording but it is interesting none the less (and it’s from 1994, go figure!)
The second thing is, well, cool and/or disturbing. A Midi Bag Pipe. Yes, you heard right. You can now, for about $400, practice bag pipes virtually. The best part, you don’t have to blow into it, nor do other people need to hear it. Gotta love technology.
I’m not quite sure what to think of this. Though it does/can use Band in A Box, the demo video rather disturbs me. Visions of Sanjayas popping up all over the place is something even the late Charlton Heston would have a tough time conquering.
This software, from Microsoft, has great little sliders for Happiness and Jazz. No EMO slider? No rock? What?
Here is another article about this Microsoft “research”.
I read this disappointing bit of news in the duc.digidesign.com forums.
We hope to have the new release within between 1 and 2 months from now; some of that timetable is contingent on Apple.
It’s not the WHOLE thing they posted. Lots of hemming and hawing about why they still have not delivered ProTools on Mac OS X 10.5. Every other major audio program is running on it. Ableton, Reason, Logic and Digital Performer (The last two, well, are Mac only, so).
On my systems, ProTools M-Powered works well on my MacPro if you knock down the number of processors from 8 to 4. And the beta drivers for the Project Mix I/O work ok (a little funky at times in DP5 and Logic, fine in ProTools). On my iMac…..it is very, very unstable. Sometimes ProTools and the Fast Track Ultra work great. Sometimes, not. It is a turkey shoot there. And there are lots of playback glitches. And recording glitches. Not good.
As frequent readers of Jazz-Sax.Com will know, I won a pretty awesome M-Audio package. I really did not have the “horse power” to use it until my G4 PowerMac decided to die. Followed by my G4 Cube (though that was probably more me messing around with it than it just dying on it’s own accord. IE: It was apart and being messed with). Anyhow, I invested in a new MacPro 2.88 Dual QuadCore computer. Whoa. Fast!
Anyhow, a big band I play in is in the process of recording a demo. We’ve had two concert recordings. The first, according to the engineer, didn’t come out so clean, and would require a lot of work. The second came out way better. I was able to obtain the ProTools session from the first recordings, and have been using ProTools M-Powered to clean it up and what not.
Now, the question is actually two questions. What is the best studio recording of a Big Band, and what is the best live recording of a big band? For the former, I’d have to say Gordon Goodwin’s Big Phat Albums are amazingly well done. For the latter, I think the one that sticks out in my mind is Frank Sinatra and Count Basie – Sinatra at the Sands.
Opinions?
Gearjunkies.com has opened a neat new little site called Gearjunkies UserStudios. Here, people can flaunt their pro, semi-pro, project, or home studios. Though, right now, it seems that a lot of info is left out such as microphones, computers used, etc. But it was just launched, so, hopefully, that will be coming soon.
Unlike the other scientific article about music, this article is rather interesting….
In new findings, researchers at Johns Hopkins University in Baltimore and the National Institute on Deafness and Other Communication Disorders say they have located the region of the brain — the medial prefrontal cortex — that lights up when musicians improvise. It’s the same area we all use when we’re talking about ourselves — who we are, what makes us tick.
At the same time, he and a colleague found, improvising musicians turn off the dorsolateral prefrontal cortex, a portion of the brain linked to planning, careful actions and self-censoring.
One of the best tutorial sites I’ve seen. Doug McKenize’s Jazz Piano Site. If you play piano, or want to play, or just get better, check out his videos he has up.
Very well done!
I use Finale for notation. True, I did buy Sibelius when they were offering that sweet upgrade price. But, honestly, I haven’t used it. I haven’t had the time to learn it. I’d rather spend it learning, oh, Logic Studio, or ProTools. I like to complain about Finale, cause I use it daily. I want it to be better. It is a great notation product.
Finale has been tagged with the perception that it is hard to learn. That might have been true back in 1999, but that is certainly not the case with the latest versions. For many versions now, MakeMusic has been making Finale much easier for a new user to use. Finale’s real strength is it’s power. You can tweak your music to your hearts content. Learning how to do this can be a long, lonely road.
Enter The Finale School. Matthew Voogt has put together a nice site that has a lot of videos showing how to do stuff in Finale 2007. While the video quality is not great (fuzzy when you blow it up), the content is straight forward and easy to follow. You can learn a lot of new Finale things by watching a few of the videos. Check it out.
The potential of a touch interface is amazing, as exhibited by this video I found at Gizmodo:
Lots of potential for all kinds of interesting things. Now where is the saxophone sound??
Not sure what happened to the Music Education Alliance, but Steinberg announced their Classroom Resource Pack.
“Computer technology is increasingly being used for teaching music in schools world-wide,” comments Mark Porter, Steinberg’s International Sales Manager. “But often the task of providing classroom resources is left to the individual teacher, even if their personal experience using modern music technology products has been somewhat limited. So the huge quantity of structured, high-quality resources provided by the Steinberg Classroom Resource Pack will be invaluable to music teachers everywhere, whether they are experienced Cubase users or are completely new to using computers – because it gives them more time for applying their teaching rather than preparing for it,” he continues.
Blah, blah, blah. Look, kids don’t want stupid worksheets to do. They want to play. The want to learn music, not do some generated worksheet. Technology. CMEA just discovered Band in a Box. Maybe in 10 years they will discover this? Maybe? Perhaps?
UPDATE: 02/16/08 by E: The latest issue of Time Magazine has an article about “How To Make Better Teachers”. Funny thing is that technology is not mentioned in the article. Hmmm….
I just was given, to look at, some technology thing from some guy named Wilson, who is in charge of CMEA (California Music Educators Association) technology or something. Anyhow, it was about Band in a Box. It read like this guy had just found the Holy Grail. And, he had really BAD rendered backgrounds done off the Macintosh version of it. Like Nintendo type backgrounds.
First off, I don’t know if I should be amused or saddened by this. On the one hand, it is great that this guy has found Band in a box, but at the same time, it has been out since….the Atari ST. Which would be 1988 or so. And CMEA is just now finding out about this? And they want tax payers to pay more money for the schools? What?
Band in a Box is a great program, but you should avoid the Macintosh version. It is 5 versions behind at my last count. It lacks a ton of features that the PC version does. If you want to run it on a Mac, get an Intel mac, and do the Boot Camp thing or run it with Parallels. It works fine.
I wonder why things like this get funded.
John Coltrane and other famed jazz saxophonists hit piercing high notes that amateurs can’t by expertly changing the shape of their vocal tracts, research now reveals.
No shit Sherlock. It’s called having chops. Practicing for a long time.
Untangling this mystery has proven hard, since it is challenging making precise acoustic measurements inside the mouth during playing.
You think? Really? No way.
“It’s wet in the mouth and the acoustic conditions in there are really variable, and it gets really loud in there during playing,” explained researcher Jer-Ming Chen, an acoustician at the University of New South Wales in Sydney, Australia.
No, you think?
Can I get a grant to do pointless research like this? Jer-Ming Chen, why not focus on IMPORTANT SCIENCE? Oh, maybe creating renewable energy, or creating a cure for cancer? No? Too hard? Is that why you had to spend time on this “science”?
Chen added that for pro saxophonists to reach these notes, “they say they have to hear the sound in their head, to kind of get a mental image of the sound. This suggests they have some muscle memory with this tuning. I think that means anyone can learn how to do this, but you need to put in a lot of practice to get that same muscle memory.”
A scientific study which “proves” the obvious. I give you a nice “golf clap” for this. Now go freaking do something worthwhile with science. Geeze.
I came across this article from Hometracked.com.
Pitch correction software has applications from restoration and mix-rescue to outright distortion of a voice or instrument. I’ll discuss some of the more tasteful uses of these auto-tune tools (whether the original from Antares, or a variant like the free GSnap) below. But first I thought I’d highlight their misuse to illustrate the effects we usually try to avoid.
I think the second example on the page is more of a vocoder thing, ala Gorillaz or Peter Gabriel. However, there is a band I play in where we are trying to do a CD, so, we hired someone to record us live. After 3 months, he had two songs done, and I’d say they are not anything to write home about. He even put in clapping which makes it sound even more fake.
When I record, I try NOT to do much to it. Balance it, sure, but pitch correction…..not really, unless there is something that totally sticks out like a sore thumb. I had a two or three songs that students did before Christmas that I had to do some pitch correction with, but it was not the whole song. Just a couple of notes here and there.