44 Results for : comping

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    Mixing Secrets (eBook, PDF)
    Aufnahmen professionell bearbeiten und arrangieren Das richtige Equipment für das kleine Budget Tipps und Tricks von Spitzen-Tontechnikern wie: Derek »MixedByAli« Ali, Michael Brauer, Serban Ghenea, Tony Maserati, Phil Tan Kleines Studio, kleines Budget und professionell produzierte Songs - der Mix-Spezialist Mike Senior verrät, wie Sie mit den Techniken erfolgreicher Tontechniker Anfängerfehler vermeiden und Songs auf Chartniveau abmischen. Sie werden Schritt für Schritt durch den vollständigen Mischprozess geführt: angefangen bei der Ausstattung des Studios über Timing-Anpassungen und die perfekten Mischverhältnisse bis hin zu individuellen Effekten. Der Autor geht dabei speziell auf die Gegebenheiten kleiner Studios ein und zeigt, wie Sie auch mit Low-Budget-Produktionen kommerzielles Niveau erreichen können. Verständliche Erklärungen, viele Tipps und Strategien bekannter Musikproduzenten sowie hilfreiche To-dos zeigen Ihnen, wie Sie Ihren persönlichen Workflow finden und das Beste aus Ihrem Studio herausholen. Der Autor stellt begleitend zum Buch auf einer Webseite eine umfangreiche Auswahl an weiterführenden Links sowie Multimediadateien zur Verfügung, die für Lernzwecke frei verwendet werden dürfen. »Mixing Secrets« eignet sich deshalb auch perfekt für den Einsatz in Schulen und Hochschulen. Aus dem Inhalt: Hören und Abhören Nahfeldmonitore verwenden Ergänzendes Monitoring Schadensbegrenzung im Bassbereich Von subjektiven Eindrücken zu objektiven Ergebnissen Mixvorbereitung Erforderliche Vorarbeiten Timing- und Tuning-Anpassungen Comping und Arrangement Mischverhältnisse Aufbau der groben Mischverhältnisse Kompression Equalizer Frequenzselektive Dynamikbearbeitung Die Macht von Sidechains Mixverhältnisse in Bewegung Nach Geschmack verfeinern Mischen mit Reverb Mischen mit Delay Stereoverbreiterung Master-Bus-Kompression, Automation und Endfassung "Senior betrachtet die einzelnen Themen sehr detailliert und umfassend und punktet dabei mit enormem Fachwissen und technischem Verständnis. Sein Schreibstil ist unterhaltsam und kurzweilig, es hat großen Spaß gemacht, das Buch zu lesen. Es braucht zwar einiges an Disziplin und Zeit die gut 350 Seiten durchzuarbeiten und auch zu verstehen - aber es lohnt sich! Das Buch ist randvoll mit guten Tipps und Anregungen für die Praxis." Mixen und Mastern, 05/2012
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    • Price: 34.99 EUR excl. shipping
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    You Can Play Jazz Guitar 2: Improvisation - Develo
    Now it's time to dig deeper into jazz improvisation in styles ranging from bebop to jazz blues. On this second DVD, guitarist Mike DeMicco presents a full range of soloing ideas designed to expand your knowledge of the guitar in one quantum leap! Mike starts off with an in-depth look at the Ilm-V-I progression and the relationships between chords, scales and modes. Through dozens of examples, including scale and chord comping exercises in all the keys and his own composition 'Lydian Girl', he ex
    • Shop: odax
    • Price: 21.66 EUR excl. shipping
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    Miss You Mr. Mercer
    Recording as a vocal piano duo is tantamount to doing a high-wire act without a net - there's simply no margin for error. Musicians less talented than the principals here don't even attempt it. For singer Shari Lynn and pianist Bob Corwin though, it's no big deal. Between the two of them Shari and Bob have been pleasing listeners for half a century, in concert halls, posh showrooms, and more intimate 'cabaret' venues. Since moving to Hawaii in 1976, Shari has developed a cadre of loyal fans throughout the Islands where she performs on radio and TV and at the most popular venues including cabarets (she is a fellow of the Eugene O'Neill Theatre Cabaret Symposium) in Symphony concerts, on cruise ships and stars in numerous classic Broadway musicals. Shari's acting talents have earned her six Po'okelas (Hawaii's 'Tony Award'.) She was named 1994's Best Actress in Hawaii's People's Choice Awards and has made appearances on Magnum P.I., Jake and The Fatman, Hart To Hart, Charlie's Angels and The Jefferson's. With a repertoire of over 1500 songs, her forte is jazz-tinged tunes of the 1930's, '40's and '50's as well as Broadway showstoppers. Wayne Harada of The Honolulu Advertiser calls her 'a sensuous performer' and lauds her for her 'way with lyrics' and 'feel for mood.' Thomas Tucker of The Los Angeles Herald Dispatch says 'she sings a song with exquisite delicacy that forces the audience to listen with their hearts.' Choosing Bob Corwin to accompany her on this album of Johnny Mercer tunes was no happenstance for Shari. The two gigged together in Honolulu before Bob moved back to the mainland. His list of credits includes recording with jazz immortals such as Chet Baker, Peggy Lee, Carmen McCrae, Anita O'day and Phil Woods. (Bob says he enjoyed working with Shari as much or more than the aforementioned superstars.) Corwin was a logical choice for this album, he was Johnny Mercer's accompanist for 18 years. As with Shari, Bob's artistry doesn't depend on frills and histrionics. Bob's one of those rare pianists who just loves to accompany. His comping cords and runs here are things of spare beauty. The Johnny Mercer songs in this collection are perfect vehicles for introducing Shari Lynn's vocal abilities. Mercer's catalogue is widely diverse and offers Shari the opportunity to show her own diversity and creativity. Although most of the tunes here are well known, Miss Lynn has the knack of springing subtle surprises on the listener with a scoop here or a bent note there to make these a fresh experience. She 'acts' the lyric for us, each song becomes it's own perfect little play - all the while singing in tune and on time. High praise for Shari's renditions comes from no other than the daughter of Johnny Mercer, Mandy Mercer Nader. 'Shari has a beautiful voice and I'm pleased that she's recorded my father's songs. I particularly enjoyed Midnight Sun and Dream.' And after you hear these tracks, you'll want to tell those who worry about the future of our good ole' American standards that they're in good hands. With any luck, Bob Corwin and Shari Lynn will keep the music playing for a long time to come. - excerpted from the liner notes by Sam Polson, award-winning jazz CD reviewer and photojournalist.
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    • Price: 24.46 EUR excl. shipping
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    Solo Guitar
    REVIEWS & TESTIMONIALS... '... he sure can play. 'Jazz On the Classic' gives you Pete Smyser as a one-man band. Like Joe Pass, Pete can produce a completely rendered piece-with melody, harmony and rhythm coming from a single instrument. Stylistically, however, Pete goes his own way. How? First off, he's playing a nylon acoustic, which makes for a particular sound, second his improvisations are his own, quite tasteful and articulate, masterful, idiomatic, and imaginative. Joe Pass was all that too, but Smyser gets a different sound and feel. The recording does not produce all the expected shopworn goodies. Smyser picks some of the less played classics, especially when it comes to the guitar. Take for example Alec Wilder's "It's So Peaceful in the Country." Now that's a great tune and he does a terrific job bringing out the beauties of the melody and harmony. Then there's another unexpected treasure: Duke's "Black & Tan Fantasy." Smyser gives it a striding glide, a very adept translation to the stringed world and a bluesy solo too that is quite nice. Miles Davis' first "Milestones" is another one you don't expect to hear in this medium. It is wonderful to hear it like this, though. It makes you remember just how great a tune it is. And the solo Smyser does have some wonderful lines and hip comping at the same time. I could go on, and mention "Red Door," a Mulligan-Sims gem that lays just right on Smyser's guitar. Well I just did. That's enough to give you the idea. This is a fine recording and a real tribute to Smyser's abilities. Any fan of the acoustic will get great pleasure from it. - Grego Applegate Edwards (Cadence Magazine) "In his solo work, the guitarist seems even more patient than he was in the past, more willing in his 20th year as a professional to let the music breathe. The jazz material on the recording shows Smyser's influences, chiefly the lush, evocative chording of Wes Montgomery and the agility of the reigning master-supremo, axe-man, Jim Hall. Don't be distracted by the fact that it is self-released. It is top drawer stuff that deserve some serious listening." -Tim Blangger/ The Morning Call 'I'd be curious to know what kind of response you get from this solo CD. I think it should appeal to a wide audience. It is certainly 'jazz', but doesn't have long solos that seem to drive non-jazz listeners away. It is relaxing (but not Musak or New Age) so it would be good to play while doing desk work (sorry - background!!). The effortless and 'making it sound easy' feel doesn't make it a technical listen but arrangements are very interesting. The musicians will certainly appreciate the difficulty and accomplishment to make it sound effortless. Making difficult things sound easy is the highest level. I hope people appreciate it.' - Bill "...beautifully played by Smyser. 'A Foggy Day' is especially tasty." -Robert Page (owner of The Classical Guitar Store, Phila., PA) "Pete, I just love this classical guitar jazz collection. Wow!!!! The sound is so soulful and intimate because of the nylon strings." -Roger "I LOVE IT! I like it when you work alone best. You are able to completely express yourself and it comes off GREAT!! I am loving it!!" - Jan "I really have enjoyed (your CDs). Your taste, conciseness, and respect for the tradition are rare commodities these days. Congrats on a great product, keep swingin!" - Tom HOW THE RECORDING CAME ABOUT... In 2007, John Arnold (professor of classical guitar studies at Moravian College in Bethlehem, Pennsylvania) invited me to perform at the annual Bethlehem Guitar Festival which is rooted in classical guitar traditions. There was, however, an interesting twist to the theme of the festival that particular year - "Jazz on the Classic". Performers were encouraged to incorporate jazz elements into a program that would be performed on a classical (nylon stringed) guitar. With this theme in mind, I set out to put together a solo guitar program that would bridge the two distinctly different musical approaches- classical and jazz. Classical guitar performance usually involves a predetermined and clearly defined arrangement. This involves pre-thinking every detail including all note choices for the arrangement, exact fingering to be used for both the left and right hands, as well as where to play each given note. Jazz enthusiasts champion the ability to play musical ideas spontaneously with little or no preplanning. A jazz performer would typically state the melody once through, then improvise over the chord structure of the piece and, finally, close with a re-statement of the melody. The approach that I settled upon represented a departure from that of any other jazz performance that I had ever performed. The "jazz" elements of this program are represented by, 1. The inclusion of the improvisational middle section of the tunes. 2. The choice of musical selections. Some of the selections are well known American Songbook standards while others were originally composed as instrumental jazz pieces. One song, "Time Will Tell", is an original composition. The "classical" side of the program is represented in three areas. 1. The use of composed arrangements for the melody statements. 2. The music is performed on a nylon string classical guitar (as opposed to the steel string guitar that is more typically used for jazz performances). 3. Classical finger style techniques were utilized exclusively (as opposed to plectrum or pick techniques).
    • Shop: odax
    • Price: 25.60 EUR excl. shipping

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