The new Roland Jupiter synth has only been here a few days, but you’d better believe I’m putting it to good use.
I absolutely LOVE Jan Hieronimko in this role as the creepy village doctor/vampire. Can you believe Dreyer discovered him on a random metro train in Paris?
I’ve been waiting a long time for this… Roland’s new flagship performance synth in an ultra-portable package.
It’s 5-part multitimbral with highly detailed Zen-core engine models for the Juptier-8, Juno 106, JX-8P, SH-101, XV-5080 and the RD series pianos. In addition to Roland’s own vintage filter modeling, the XM includes Moog 24dB/oct ladder filter and a Sequential Curtis filter emulations!
All of this in a tiny 10 lbs. package with internal speakers. Absolutely perfect for working when I’m in the studio and on the road…
This week Meyer Sound and National Sawdust announced a new partnership.
We’re talkin’ 86 high-resolution speakers and 16 subwoofers installed behind all of these beautiful wall and ceiling panels. I was fortunate to get a behind-the-scenes look at this amazing setup last month.
This is truly a one-of-a-kind performance space in NYC and some exciting things are in the works. Stay tuned…
And it’s found its forever home. More to follow…
George Crumb’s 90th birthday celebration concert took place this evening at National Sawdust in Brooklyn. His 90th birthday — can you believe it?
I was invited to view the premiere of a short documentary, experience the concert, and get introduced to their brand new Meyer Sound Constellation audio system.
Believe it or not, there are 102 magical speakers (86 full range + 16 subs) hiding behind those gorgeous wall and ceiling panels. Each one of them has me dreaming of possibilities…
The concert was a STUNNING success.
(I’ve been asked to mix and master the concert audio for the upcoming archival videos and I’ll update this post with links as soon as they’re available online.)
With the first 20 minutes of demos tracked in total isolation, we bounced a rough mix (minus vocals) and presented the result to a few friends we know to be interested in unusual music and vampires.
Our goal was to represent a general idea of how the finished project might feel and gather feedback. So far, we’ve learned two important things:
1) The Concept Is Strong
One of our initial concerns was whether or not audiences would accept the back-to-back juxtaposition of Alison’s smart and edgy (but still relatively accessible) songwriting with my highly experimental works for piano and computer that are (at best) quite challenging for most listeners. Not to worry! If we can manage to keep the vibe evolving with a certainly regularity, this is actually one of the more attractive features of the project.
As far as I can tell, the reason for this is that the film (which is full of incredible visuals) provides viewers with a potential reading of the musical gestures that’s tied to a clear narrative. The result is that sound cues that might otherwise appear disconnected feel motivated by action on the screen.
2) Some Accidents Are Better Than Others
And that brings me to one of the more unexpected discoveries with this project. We’re mostly adapting existing music to accompany the film and have found that if we’ve done a decent job pairing the mood and flavor of a piece of music with a specific scene, almost inevitably, at least a few key sounds and gestures will line up with the visuals.
Of course these are accidents, but during our pilot testing we found that some people reported a very strong (and often unexpected) connection between these unplanned coincidences. This meant that when a related action occurred on screen and the audio cues were missing, audience members felt their absence and wished they would return in some way.