Live Recordings Posted

[Marc Piane]

I meant to post this in the recordings section. Mods, clean up on aisle 3 if you want.

Hey cats. Here are some things we recorded this past Friday night at Pops for Champagne in Chicago.

For you recording nerds... I did double duty that night and played the bass as well as engineered. The setup:
tenor saxophone - Audio Technica AT35 Pro
piano - pair of AKG C-1000s
bass - Shure Beta 57a on an H-Clamp pointed at the E-side f hole
drums - pair AKG C-1000s overheads and a Shure Beta 52 for the bass drum

All this was running into a Presonus Firepod and then my Mac Powerbook Laptop. Recorded with Cubase. I kinda set basic levels, hit record and forgot about it. I did all the mixing after the fact.

Feel free to put in your 2 cents about the music or the mix or whatever.

[Chris Fitzgerald]

I listened to "Boogie On Reggae Woman", and have several observations:

1) If damonsmith listens to this, he won't like it.
2) The recording itself sounds good, if maybe a little dark on the bass track.
3) it's a really fun arrangement that I can see being fun to play and going over well. The energy is good, and I like some of the stuff the piano player is doing.
4) One of my favorite bits about the original is the fat analog synth bass, which is extremely edgy on both the front and back ends of the note. I'd think about trying to cop the original line - including all of Steve's keyboard friendly ornamentation - and then deconstruct it from there to make it playable. I love to play 16th note funk groove on the doghouse, including all of the short notes that are way easier to play on BG or keys than on the big lady; it's always a kick in the *** to try to pull them off, but the results are so visceral and athletic when it works that the old endorphins really get flying.
5) Fun stuff, great spirit! Boogie on, reggae doghouse.

[Marc Piane]

Thanks for listening Chris. I always love your insights.

Originally Posted by Chris Fitzgerald

1) If damonsmith listens to this, he won't like it.

I'll tell you what though. There is nothing like watching members of the opposite camp dance with depraved abandon to that tune. It can get a little tricky to keep focus

Originally Posted by Chris Fitzgerald

2) The recording itself sounds good, if maybe a little dark on the bass track.

I hear ya. I've tried fixing that with eq but there is so much bleed it is almost impossible. It is a small room with a small stage. I'm recording next weekend too (we're at the same club) and, despite my better judgment, I may take a line off my pickup.

Originally Posted by Chris Fitzgerald

3) it's a really fun arrangement that I can see being fun to play and going over well. The energy is good, and I like some of the stuff the piano player is doing.

See above

Originally Posted by Chris Fitzgerald

4) One of my favorite bits about the original is the fat analog synth bass, which is extremely edgy on both the front and back ends of the note. I'd think about trying to cop the original line - including all of Steve's keyboard friendly ornamentation - and then deconstruct it from there to make it playable.

I need to revisit the original. It has been a minute since I really scrutinized it. Thanks for reminding me. I'll tell you... I really dig playing funky stuff on the DB.

[Eric Hochberg]

Nice recording job, Marc despite that bright, nasty sounding room. Don't be afraid, or stuck in the mic only philosophy, to put some PU in there. It's just what the bass sound needs, some edge. It's way too dark and back in the mix. I don't think your Realist is going to make the difference, though, as it is so "body" sounding already. If you have a bridge PU, I would use that to get some attack going.

Since you're the engineer, you have control, so don't bury yourself! The kids love heavy bass!

[Marc Piane]

Thanks Eric. That room is also so dependent on the number of bodies in the room. I love the vibe there and it is great when you can really get the crowd engaged. The sound can be rough.

I'd get more presence from the Realist but not much edge, you're right. I have a Bassmax floating around somewhere. I think that'd do the trick.

We'll be there next weekend too Eric. I can try to put you on 'the list' if you want to pop over after Catch 35.

[Eric Hochberg]

Originally Posted by fingers

We'll be there next weekend too Eric. I can try to put you on 'the list' if you want to pop over after Catch 35.

Please do, I'll try and make it.

[Treyzer]

Marc,

I just listened to 2 of your tunes, "Boogie On" and "Good Riddance".

Really like the "Good Riddance" track with the solos in 7. Cool.

That must be quite a workout to engineer and play bass...Phew!

Sax sounds good, drums are very present, piano's cool, but DUDE...You da bass playa..it needs MO BASS.... IMHO

[Marc Piane]

Originally Posted by Treyzer

Sax sounds good, drums are very present, piano's cool, but DUDE...You da bass playa..it needs MO BASS.... IMHO

Thanks for listening Trey. I'm really digging making time signatures other than 4/4 groove. I've done several arrangements in 7 or 5. I also love playing the tune The Oracle by Dave Holland which is in 6/4.

I agree about the mix. I went mic only on the bass and it is fine except when the drums really get cranking. Then I really get buried. We are there again this coming weekend. I'm going to take a line of my amp for good measure.

[Treyzer]

Yea Marc,

With all the hits and stops and then the groove in 7 (notice I didn't say "swing" in 7) ha ha
You and the drummer really create a nice feel. It doesn't rush or drag. It's in the pocket.

Nice

Trey

[Marc Piane]

Posted a few new ones. This is prety everything from Friday night. Feel free to listen to anything mistakes and all. I'm using this site to share with the other folks in the band. I just figured I'd share here too.

Trey - The first two tunes on there Adamantium and Amalgasantos are good examples of the time signature stuff I've been getting into. Adamantium is an original by the sax player and Amalgasantos is by a Brazilian composer by the name of Ed Motta. His **** is super hip IMHO. We are working on another of his tunes.

I also think I found and eq setting that brings the bass out a bit more. I do sacrifice a bit in the tone department but it cut a little better. I'll still blend in a pickup next week.

[Treyzer]

Originally Posted by fingers

Posted a few new ones. This is prety everything from Friday night. Feel free to listen to anything mistakes and all. I'm using this site to share with the other folks in the band. I just figured I'd share here too.

Trey - The first two tunes on there Adamantium and Amalgasantos are good examples of the time signature stuff I've been getting into. Adamantium is an original by the sax player and Amalgasantos is by a Brazilian composer by the name of Ed Motta. His **** is super hip IMHO. We are working on another of his tunes.

I also think I found and eq setting that brings the bass out a bit more. I do sacrifice a bit in the tone department but it cut a little better.

Marc,

I like that your band is taking chances and i like that you guys are writing. I also think that, as a band, you guys are finding a way to play with each other that sounds modern, funky and unique.

The first tune doesn't sound completely realized as a composition and as such the groove doesn't seem totally settled. There are some great moments though! Maybe if the groove felt just a bit wider with a little more space. Just thinkin out loud!

The second tune is great! The playing is very modern and the groove feels great. The solos build nicely and you and the drummer take some chances. It sounds like you were all very connected on this one. I could hear the bass better and your playing is great IMHO. Mix this one and put it out!

Take Care Marc

T

[Marc Piane]

Thanks for listening Trey.

I have felt that the first tune (Adamantium) was on the edge of falling apart. It is in 4, then 7, then 4, then 5, then 4 again. That's part of what makes it a challenge (and fun) to play but I could see how it makes it unsettling to listen to. The other thing is we are just starting to really 'get it'. If we are not making it feel 'settled' we have some work still to do. Somehow Dave Holland does all the crazy meter stuff and makes it sound effortless. It's nice to have a pair of outside ears hear that we are not quite there. Maybe it'd befit from more of a 'breakdown' at the beginning of the solos?

Thanks for the kudos on Amalgasantos. Such a cool tune. That drummer is a hella fun to play with too. He comes out of the black/southside/gospel vein. So much energy. Planet groove all the way. Love it.

[Treyzer]

Originally Posted by fingers

Thanks for listening Trey.

I have felt that the first tune (Adamantium) was on the edge of falling apart. It is in 4, then 7, then 4, then 5, then 4 again. That's part of what makes it a challenge (and fun) to play but I could see how it makes it unsettling to listen to. The other thing is we are just starting to really 'get it'......

Somehow Dave Holland does all the crazy meter stuff and makes it sound effortless......Maybe it'd befit from more of a 'breakdown' at the beginning of the solos?.......

That drummer is a hella fun to play with too. He comes out of the black/southside/gospel vein. So much energy. Planet groove all the way. Love it.

If I could express myself more clearly, these are almost the exact words I would have used. Also, I have to say that there are some very cool moments in this piece. I just want to hear the whole thing sound like those moments!

Good luck on your recording project. It always is such a fun and typically enlightening journey!

T