I'm listening to Balls of Fire.....I LOVE this!!!!! Wonderful, funky, totally original, melodic but pleasantly dissonant, so cool. Just came over to your page to see what you've been up to since I haven't seen you on here in a bit. You've probably been too busy writing cool music! Oh now, I wasn't expecting this slow, dreamy section....almost like looking in those spooky, carnival convex and concave mirrors....reminds me of a Steven King novel....the child sees behind the veil, the adults are clueless....and now it picks up again and the train's about to go off the tracks.....Kelly, this is a masterpiece! What are you going to do with it? Martha
So far I have listened to the first movement of your Violin Sonata. Enjoy your material - wish the slow section with the very low piano part went on longer.
Good use of imitation - only quibble is you rely on it a little too often. I wish there was some more antagonism between the two. But you have great accompaniment figures traded between the violin and piano and call response. A good part is where they trade and then unite that was a nice touch (around 5:50). Also enjoy the ending - good harmonic support and recall of the of broken octaves.
Anyway, very small things, overall a very good movement I enjoyed.
Second movement - a little too static though I think with live performers it would sound much less so. I like the one or two harmonic diversions in the return of the A sections - would have liked a few more.
Third - like how you keep it related to the first with the sinuous chromatic repetitive figures in both movements - different material but share these characteristics. Good job there.
The Shur vocal mike is not a condenser. The two I use for instrumental recording are....They pick up all the surround sound. The vocal mike is pretty much uni directional....you got to be right there on it.
There is a way to do mastering and editing with the Roland, right there in the machine. But to tell you the truth, I've never tried to do it. I just turn it on and record, like it's a cassette player. I just keep playing and singing til I get a take that's pretty good. I've been using a Roland Fantom X8 for my recent piano recordings....I LOVE the sound of the old piano, but too many don't....I guess it's an acquired taste. Also, I think modern recording techniques and the highly polished chrome like perfection fo digital instruments has kind of affected popular taste....reality just sounds 'wrong' to a lot of people now. Martha
Hi, I'm just wondering about your set up? Probably a ditzy question, but I have not used any of the computer stuff. So are you using an apple or windows? I keep thinking I'd like to try out computer recording, but I'm afraid of how complicated it all seems....I'm a something of a Ludite. Actually, I'm using a Roland Boss 1200 recording machine. For the "magic' vintage piano, I used some fairly cheap condenser mikes, two of them. Also used them for all the instrumental pieces on the Cumberland Suite. For voice, I've been using a Shur mike....I'm not sure which number it is....I'd have to go out to the studio and look. It's the workhorse that nearly everyone uses, not very expensive but it's the most used vocal mike, even by some big stars who swear by it. I did try out a Synheiser (is that the name?) that an engineer in Nashville told me about, but didn't like it. Sounded muddy for my voice....might sound very good for a male vocal. My method is just to sit down and play....dont' have the technical knowledge to go back in and fix anything, so sometimes it's a little rough. But, I comfort myself by saying at least it's alive and real. I do a few takes and go with the best one, flaws and all. Sometimes I just get tired of a piece and say what the hell and let little mistakes go....Have to run. Later. MM
Hello Kelly, Thanks for adding me as a friend and also, incidentally, for bringing me back to this site. I had not been on in a while and I see some interesting people and things going on here. I'm listening to your violin sonata right now....VERY well done.. I read your bio, and your praise of the 'gawds of electronics.' If this is electronic, you've got a very faithful sound. It's not is it? If it is, can you tell me what program you are using. I keep thinking I'm going to get into computer stuff, but I'm too intimidated. Anyway, I'm liking your aesthetic very much. First, I like that it's uncluttered. I like to be able to hear every note. I'm listening to the second piece now....very melodic yet modern at the same time. Melody is THE single most essential element for me musically. Your comment about Black Sabbath having a medieval sound, yes I think so too. Reminds me that I hav wanted to do some electronic 'early' music and British folk. There are so many projects and too little time....I only discovered this composing business a few years ago and now wonder what happened to all the time. (This piece is really beautiful!) Thank you so much for visiting my page . Listening to your music, I believe we might be on similar musical wavelengths....so, let's keep in touch. It's early here and I have to get my son going to a track meet, will listen to more of your music later. Deathborg, now that's an interesting name. Want to hear it too. Martha Maria
Thanks for stopping by Kelly. The first one (Frescobaldi) I just put up to showcase a new instrument. The glue's not even dry, nor the strings work hardened. It'll sound better every year.
I don't know a great deal about Bach, outside of his music. I'm too lazy to read biographies. We should talk more, I might learn something. I'm not sure what I'd do with 20 kids, or 20 bushels of barley, for that matter. Do you just throw that in a pan and fry it up? .. wouldn't mind the buckets of beer though.