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Sometimes I wish it was more purely technical, but I can best describe the process as, acting like an engineer, and thinking like a musician.I feel like SpectraLayers almost chose me! You know, Billie’s Bounce and those things.

This one refers to the title character of the song, which describes Belexes’ adventures in…well, I’m not exactly sure…I do know Belexes is a character…I remember Kerry telling me that. BILL EVANS INTERVIEW from August 1980 .

The one solo piece - Peace, Piece - forever altered the landscape. And he loved Blossom Dearie, who I love also. But for many reasons—even the most prepared and practiced musicians are not immune from these occurrences—especially when recording a live performance.The problem is that all the current ways to “fix” these “mistakes” removes what makes a performance great in the first place—the continuous, unedited, linear flow of expression that emerges only from a specific time, place and mindset.The most common way of dealing with “mistakes” is to re-record the problematic section.

Bill Evans Interview 1976. He didn’t invent spectrograms—he made them more useful. William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly played in trios. Sometimes during a take, we wouldn’t even know that.

They allow me to selectively bring out, or obscure, very precise elements of sound, and as a result, music. From the other side, I’ll share these techniques with him, which will in turn, provide inspiration for the evolution of SpectraLayer’s feature set.I also like to ask him support questions because I actively avoid manuals.

I still have the cassettes, and I digitized them when I got a CD burner and was teaching jazz history at NEC.For years, I wasn’t sure about whose recordings these were and how to respond to many requests to share them. Bill Evans. Instrumentals can also be corrected by re-recording and editing if there are any kinks during studio recording.This desire for perfection has a lot to do with the audience’s aesthetic expectations.But it begs the question: How authentic is a musical performance if any so-called “error” in a melody or chord is retouched? To help simulate haptics, I created the first voxel-addressable force-field projection system: the Volumetric Haptic Display. My process (Harmonic Phrase Analysis and Restoration) doesn’t only restore performances, but also enhances the sonic quality and audible character of the performance. Transcribed from the (MOLDE, NORWAY 1980) videotape by Jan Stevens. But what Philly said alarmed me, so Philly says, “I’ll meet you over there.” I said, “Great.” So, I went over there expecting Joe to be there already, but Joe hadn’t arrived, and didn’t during the time I was visiting. There’s a common thread of avoiding stock harmony. phrasing), a picture can begin to emerge of the intended performance.Belexes is a new type of hardware/software audio workstation, designed to support a new paradigm for audio editing: direct, manual manipulation of sound. But he seemed to feel that he wasn’t ready to come out and play, even though I somewhat prevailed upon him that the world was waiting for him and he didn’t seem to have the inclination to come out and play. Or, you just might want a mix that provides the maximum amount of musical detail of a perfectly-recorded studio performance.Since establishing these techniques in 2015, I’ve worked on recordings by artists such as Albert Lee, Mike Portnoy, Dave LaRue, Neal Morse, Steve Lukather, Sterling Ball, Steve Vai, Marco Minnemann, John Wesley, John Petrucci and Jay Graydon. )At its core, I believe great music is about great performances. But it turns out to be a very key thing, something that changes the character of the whole thing. The group I most commonly work with is Flying Colors, and (individually) their members (Steve Morse, Dave LaRue, Casey McPherson, Neal Morse, and Mike Portnoy).There’s also a ferret named Malamo that I’ve been training to sort tiny screws. Often, I’ll hear something in part of a sound that I’ll want to apply to another, and the clone tool makes this possible.There’s also a feature in the next version of SpectraLayers that I’m not supposed to talk about…all I can say is it revolutionizes what can be seen with a Spectrogram.

But Miles is truly a stylist, but that’s mainly because he’s a strong, independent personality, and does things his own way, and always has, and just what we were talking about. Like he might come over to the piano and say, “Right here, I want this sound.”Now if you know music and all, you know a lot of the implications of what that means in the total structure. My original goal as a producer and engineer, was to create recordings with exceptional clarity—especially live recordings. Clinics. Contact Store Open Menu Close Menu. Everything matches up.That’s a good question! Once you’ve done that, you can reconstitute audio in new and innovative ways, based on how we perceive sound and music.When I’m asked to work with an artist, it’s usually about bringing out the performance, removing whatever impediments there may be for the listener, and empowering the mix engineer with the enhanced clarity and tone. Lewis was excited about hearing as much as possible of the 126-hour Miles Davis Festival on WKCR and recorded three interviews on his portable cassette recorder placed near a clock radio in the bedroom where he was staying, if I recall correctly.When we were both back in Phoenix and playing as a duo that fall, Lewis made me a copy of the two cassettes, one with the Bill Evans and Jimmy Cobb interviews, and one with two sides of Lester Bowie.

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