Mood:
don't askNow Playing: Sandy Nelson "Teen Beat"
Topic: nametag entertainment
Date: Tue, May 16, 2006, 8:59am (EDT+5) Subject: Re: package?
From: Terry Burrows/The Orgone Company
To: "R. Stevie Moore" X-Brightmail: Message tested, results are inconclusive (ALWAYS)
Stevie,
Got the package, thanks.
So far I've played the DVD, which was an interesting one for sure. I also listened to the CD with Lane. There was some *exceptionally* good material on that one - deserves a bit more of a "production" (my usual gripes, y'know, drum machines out; real - or "more real" ones in - mastering and all that...) and certainly a proper release. It's good as it stands but sounds to me like 50 percent of a potentially superb album. I liked the bizarre modulations in some of the songs - really wild. And Lane's got a good classic guitar pop voice which contrasts well with your inimitable tubes. So, well done!
I'll give the others a listen during the week.
Not much else to report here. Feeling shitty with a cold, and generally a bit sorry for myself.
T
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Terry Burrows
London
Skype: t_a
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From: Marston Moor
Date: Tue, May 16, 2006, 9:11am
To: Terry Burrows/The Orgone Company
Subject: Re: package?
Glad you like, thanks a million for the good words.
Terry, I am THRILLED working with Lane Steinberg! He sends me short 15-25 second snippets via emailed mp3s, and I try to take it from there. It's so incredible what we've accomplished. Tickled that you remark about the "bizarre modulations" - that happens a lot, doesn't it? Ha! And also, dig Lane's 3/4 or 6/8 waltz time sigs used quite often. The whole CD somehow has a certain cohesive "duo" style! Conceptual continuity etc. Wish it really 'could' be officially released, distributed and promoted. But, alas...
The only track I'm semi-regretful about is "Elephant Overdrive Avenue" - dunno how that came out so muddy with total distorted overmodulation, but... there it is. Actually grown to nearly enjoy it that way. Actual jungle elephants musta been engineering that day!
As always, I can appreciate your "usual gripes", but at this point it's nothing more than your mere personal preference. Ya know? I've had it with the common opinion long going around about my fake drums; I totally understand (wouldn't I!), but by now it reeks of a redundant, righteous condescension which simply doesn't apply to this old boy. All these elitist purists clamoring for 100% authentic oldschool trap sets, cymbals, percussionisms... automatically thumbing noses down at any kind of electro finger drum sounds or auto-sequencing. Get over it, I think. I been there done that for 35 years, and surely crave a big fat brash kit in a big fat soundproof room. But it ain't happening. This is what I have so this is what I use. I have no problem with fake drums whatsoever. Even some of the more annoying generic presets which I usually try to avoid as much as possible are still there in the mix. They're cute, they go against the "hipper than thou" grain, they're easy... so I don't even bat an eyelash. Yet, I see and sense so many folks continue to squirm and wince over it. Bah, phooey.
Drumsounds can and do go anywhere they want these days. In 1976 I used a fat Premier snare, beat-up highhat and had to use a cardboard box with a mike inside for kick drum. Since then I've run the entire gamut, real/unreal, cheap/expensive, techno/no-no, programmed/fingertapped, one-mike mono or spread tomtoms. Even slapping on my thighs, for chrissakes.
There's no one proper solution, ever!
'Our' Andy Ward's drums: fantastic intricate wrist player. But he's also got a thin rimshot snare (rather than my long preferred tuned-down deep Ringo pudding sound) and he's maybe a bit over-busy and lacking deep earthy primitive soul. No matter. It's all good, different strokes etc etc. But never do I rank all of the many alternatives. I dig it all, just as it comes.
Forgive my silly defensive take on all this, but it's wrong for anyone to intimate that in 2006 my music(s) would be better overall with improved production and more human "breathing" than the stupid little plug-in toys I rely on. I also don't take much time with laboring over performances and mixes. This is my schtick and I'm schtickin' to it! Help make it better and I'm all for it, no doubt about it.
Seriously, every project is different, and the lo-fi home element is always in control. I've accepted that as my lord and saviour. My recent gear set-up is so much better and more versatile than I ever had before, but it is simply what it is, and that's what it's going to stay. Poverty breeds innocence. I am forever a dweeb idiot when it comes to high-tech computer methods; alas I'm currently just right smack in the middle 'tween that cyber ultramodernity and the dusty old reel-to-reel basics.
No negative vibe intended here, just have to get it off me chest.
And you know that I KNOW where you're coming from when you comment about my "sounds". But it doesn't matter, on this end. What DOES matter is that I am so fucking proud to be continuing my little home recording hobby quests for enlightened creative genius. Shit, and I rarely ever even try 'composing' new tunes anymore; it's easier and more fun to just do cover versions of my faves over the last 60 years, OR even better, try remaking the obscure classics I DID actually write back in the day.
Hurry! Make me a media star. Buy/loan me more midi-bitty equipment. Disembowel my noisy sloppy first-takes and make them panoramic, shiny and bold. Teach me all the new bitrate ropes. But allow me my unique lifetime vision. Whatever that is!
Can't wait for Y&MS this summer! Pinch me, I'm in 'Mums heaven. We Wrock the Yuke.
World's most professional amateur,
LoveRS
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