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Finally starting my OWN project

#161
Remyd said:
Um, guys? This is a small jazz combo with a chick and a fiddler.

New rule: No vampires, aliens, or chicken choking on stage.

Usually, in jazz, those things are frowned upon. And, from what I hear, the fiddle player would put me to shame in the poultry department anyway. He can evidently choke five chickens in the time it takes me to choke one. According to his ex-girlfriend. ;)
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Fair enough, Potluck it is.
5/1 sounds like P.E.
Probably why she is the EX girlfriend.
 
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#162
Remyd said:
Um, guys? This is a small jazz combo with a chick and a fiddler.

New rule: No vampires, aliens, or chicken choking on stage.

Usually, in jazz, those things are frowned upon. And, from what I hear, the fiddle player would put me to shame in the poultry department anyway. He can evidently choke five chickens in the time it takes me to choke one. According to his ex-girlfriend. ;)
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No "Potluck from Hell", "Potluck Sunday Massacre" or "Death by Potluck"?
 
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#163
Just found out that the piano player has five free hours of studio time. She wasn't going to use it herself, so she donated it to the project for a demo. I'm not exactly sure the deal, but I know a lot of their engineers can mix and master too. Fingers crossed, we can lay down two or three and still have time for working on it.

Reason: The recording studio doesn't have a piano. Not even a crappy one. What kind of )$&@! studio doesn't have a &@$!ing piano?!?!?
 
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#164
You don't need a real piano. You can get great (like, so great you'll never know the difference) piano sounds from a variety of midi controllers/synth packages. In many ways it's better too, total isolation on the track.

5 hours is not much time to record + mix + master. I would either use the session entirely for tracking or just do one song, maybe two and forget the master.
 
#165
Space Pickle said:
You don't need a real piano. You can get great (like, so great you'll never know the difference) piano sounds from a variety of midi controllers/synth packages. In many ways it's better too, total isolation on the track.
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The piano is an acoustic instrument. I understand about all the syths and samples and stuff, but those things aren't made of wood. There are not strings being hit by felt covered hammers. No little creaks as the harp shifts. The pianist is not down, at least not for solo recording.

Although, she is perfectly willing to set her concerns aside to play with us. She needs a demo just as badly as anyone else, even if it's not solo classical piano.

5 hours is not much time to record + mix + master. I would either use the session entirely for tracking or just do one song, maybe two and forget the master.
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We don't have money or talent to do recording stuff ourselves, so we'll try and wrap everything up in that time. Would love some complete tracks, at least, if not perfectly ready for international high-roller release parties in Dubai. ;)
 
#167
Space Pickle said:
You're certainly entitled to your opinion, but when you ask "What kind of )$&@! studio doesn't have a &@$!ing piano?!?!?" my explaination is why. Many good studios don't own pianos.
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Guitars, basses, drums, synthesizers, and a Wurlitzer organ but no piano? The piano is a seriously ubiquitous instrument in American music. Every singer – songwriter does not use a guitar.
 
#170
xgator4u said:
You don't need ACTUAL, we have virtual !
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This is why there is a difference between bass player and musician, although we can hope that some are both...
Pianos take up a lot of space, good ones are expensive and need a bunch of attention if they're to be kept up to studio-level standards. I have no doubt there are lots of studios with pianos, even really good ones. I doubt they're giving away much time...
 
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#171
...you would never be able to tell the difference between a high quality fake piano sound and a real recorded piano on a typical rock/pop/jazz track. Solo piano might be a different story, but these tools can make the difference between a quality recording and no recording. I have recorded in an incredible, state-of-the-art studio with a real grand piano, upright bass, real Hammond B3. Huge room, made out of wood (not wood panelling put on the walls, the room was actually made out of wood).

I've also recorded with virtual piano/rhodes/B3, and run my bass direct. The studio was in a unit in some industrial park. One of these scenarios is not better than the other. Different tools for different jobs and budgets. You can record at the big-time studio, but it's going to cost you.
 
#172
Space Pickle said:
...you would never be able to tell the difference between a high quality fake piano sound and a real recorded piano on a typical rock/pop/jazz track. Solo piano might be a different story, but these tools can make the difference between a quality recording and no recording. I have recorded in an incredible, state-of-the-art studio with a real grand piano, upright bass, real Hammond B3. Huge room, made out of wood (not wood panelling put on the walls, the room was actually made out of wood).

I've also recorded with virtual piano/rhodes/B3, and run my bass direct. The studio was in a unit in some industrial park. One of these scenarios is not better than the other. Different tools for different jobs and budgets. You can record at the big-time studio, but it's going to cost you.
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Well...
You get what you pay for.
 
#175
Another good week for Potluck. We shuffled a few arrangements and put together a 20 minute set. I can put that one in the win column and talk through a couple open mic, a free gig, etc. The fiddler has a lead on something for next week but probably no money. The mashup with Czardis and Dark Eyes is getting really, really good. Might be too complex to record on our first attempt though.

That chick singer from post #150 who we aren't working with due to bad attitude? She shoved her hand down the fiddlers jeans as soon as he could be induced to hold still for a minute.

He thinks it was a random hookup. I think it was an attempt to snag a man.
He decided that he's not going to hookup with her anymore. I can't help but doubt.
He says that pathos leads to good music. I say "famous last words".
We'll see, I guess.

I really, really love to play with the fiddler and pianist. We need to insulate that core group from skanks and Yokos, if possible

I also say that idiot diva @#&$%es need to stay away from me and my band. She smack-talked me and my wife both to the guitard and drummer (who passed in favor of an indie rock project), my fiddler, and one of the singers from my jam session in the last two weeks. She also hooked up with a couple of them on the same occasions. That's way, way too much. I usually couldn't give a hoot what people say about me, or who they're banging, but this is adding slutty-hipster-related-suffering to my musical life for no benefit I can see. "Remyd and Vixen are horrible %#$@%s, so take your pants off"? Really?

If I'm getting bagged on for being a controlling a@%hole, I'm gonna be a controlling a@%hole. Will send a "maybe we should take a break so you can work on your own stuff" email, even for the informal jam. She can screw whoever she wants, or talk whatever smack in the meantime, but at my house, she's not welcome anymore.
 
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