AllenLowe

the fast track is excellent - but you'll hear the difference with the Onyx -

I don't know - shoot them an email -

well, the reason I asked was that Bob Rusch at Cadence North Country asked me to let you guys know that he's got the singles and the boxes -

thanks for all the help - bumping for the night shift -

that's funny because I had an idea a few years ago to do a CD called "Allen Lowe Plays Below Standards" in which I would give each song the name of another song and just write a different melody (since you can't copyright titles) - I still think I might do it.

so much modern recording is, to my way of thinking, for the convenience of the engineer - it's easiest to have everybody in a booth, isolated, like interchangeable musical parts to be manipulated afterward - I was talking with Peter Stampfel recently (of the old Holy Modal Rounders) and he pointed out that when musicians' sounds leak into each other it produces harmonics that are lost with isolation techniques, and I think he's absolutely right.

I was told there was a recent thread about people here looking for FMP stuff, but I cannot find it by search - anyone know where it is?

what I'm using are 2 Neumann knockoffs - made by Dave Thomas of applied audio - I think that's the name - I'll look it up - neither of them was more than $300-400 and they sound incredibly good, on horn and piano. The 57 is fine, but I like some others better, like the SM81 and SM 94 (both Shure). But I would talk to this guy in Vancouver, he's great and honest. the Fast Track ultra wasn't a recording machine, just a sound card with preamps, as I recall - my 4 track was an Edirol, small and nice, but the Zoom tops it, at 24/44. recording with one stereo pair can be done, but not easily, especially in a "live situation" - you kinda have to set it up like the human ear hears things, I think. The Mackie Onyx preamps are the real find, IMHO - clear and warm. You can get them in various strips, the price has actually come down. just found the link - I would go with this guy over anything else for quality and price: http://www.aamicrophones.com/about_us.htm

I pretty much agree with david ayers, above, however....one nice thing about the emphasis of older recordings is the soloist as dominant voice, with the accompaniment behind him sonically - if done with taste it can still reflect an accurate sound. One of the big problems with multi-track, particularly multi-track with isolation, is the changing of the sonic image - everything is in your face, equally dominant (especially drums that have been recorded with 24 mics) - and this is also a problem. My model of accuracy is more Contemporary and Riverside, and Rudy when he recorded at his parents' house. (btw see my other thread on recording - I think there are some basic truths about the whole art of it which are often missed) -

I sure wish I had a secretary - I didn't realize they were so easy.

thanks - if you have both emails and mailing addresses, it would be terrific - you can send them to my allenlowe5@gmail.com address -

I just sent you a message through the board here with Dan's email - sorry Chris, I didn't see your post - either way, I think Dan is a great possibility.

Larry recently entered the Critcs Protection Program, somewhere out West (he testified at the recent trial of Chewy Vs Che) - boy, you guys are sharp.

I was going to put this on the Bluenote thread, but decided to start a new topic; the following is just my opinion, but based on personal experience. in terms of acoustic jazz, the whole sonic/recording thing is REALLY overblown and over-mystified - yes there are great engineers like Goodman at RCA and DuNann at Contemporary - but as one who has done his own recording for years (Roswell Rudd said to me after one such session that I had caught his sound better than any other engineer) I can testify that the crucial ingredients are: 1) a good sounding room:total cost: free if you can find one and sneak in or if you have a living room like mine 2) good microphones: lets say 8 microphones: 2 Neumann 87 replicas, 2 Neuman 47 replicas, 2 sm 94s 2 Sm81s: total: $2000 3) good preamps: I recommend an 8 channel Mackie Onxy: total: $600 4) good musicians: well, this varies, but my guys are doing it for free, for the project 5) a good recording machine (24 bit now; or a nice analog multi-track with enough head room): mine cost $300 I can honestly say that, with almost all of the above (I've been recording 4 and 5 musicians), I have been able to make recordings in my living room that sound as good as Rudy's or anyone else; no kidding, I will send CDR samples to anyone who does not believe me (and I recently recorded the acoustic bass "live" with a nice condsenser and it sounds aboslutely great as long as it is panned correctly). also, let me mention that these are basically "live" multi-track recordings that, for mixing purposes, tend to pan in the final mix at 9 o'clock and 3 o'clock or 10 and 2; this helps with any inherent leakage (which is significantly reduced by using electret condensers) and is a very natural sounding spread in terms of the listener (it also helps to isolate the bass when it is, as I recenly did, recorded acoustically). now that comes to under $3000 and you are set for life, and can be cheaper if, like me, you shop intelligently for used equipment, or if you record smaller groups (also, let me admit, it's a little easier for me because I use an electronic drummer, and only his amp has to be mic'd; it's tougher with an actual drummer, but I still think it can be done well with 2-3 mics) - also, as I have mentioned somewhere else, there is a guy in Vancouver who imports cheap Chines mics and upgrades them to replicas of 87s, 47, 414s, Re 20s, and other great mics, both tube and fet (I have avoided tube mics, which I love, because they are a bit more tempermental and I just don't have the patience to deal with them these days) - his mics are inredible and superior to what I have heard in higher-priced contemporary Neumanns and others. as I said, I would be happy to send sample CDRs to anyone who wants to hear things I've recorded with the above setup - Larry Kart has heard some of it and he might be able to comment. A lot of it will be out on our next CD thing, coming out in the Spring. I use no isolation or compression and I like the fact that there is leakage, and I have not had any phasing problems. Also I am not particularly good technically but I have big ears and tend to have pretty good sonic taste, which compensates somewhat. I also, last summer, picked up a Zoom R16, a cheap little plastic 8 track that, at 24 bit, sounds amazing, better than my prior and more expensive 4 track 24 bit machine; in addition I love those Onyx preamps, which I use ahead of the Zoom, and which are clean and solid state but not cold or sterile sounding. LET ME ADD: a key component to the final mix is a digital reverb program called Waves True Verb, which I have tweaked for a very natural "room" sound which is very close to the old Riverside/Contemporary aura. Note that with this setup one has less post-recording flexibility - though I have gotten good at editing out fluffs - and overdubbing post-production is out, but one ends up with a real-sounding recording of real musicians sweating it out.

thanks for all the previous help - there are a few more critics I am trying to locate for my master list (starting my own little promo company for some upcoming projects) - here's a few I cannot locate; I have sent various emails and facebook contacts - any help is appreciated, email me at allenlowe5@gmail.com here's the wanted list: BERTRAND (a psychotic jazz fan who continues to move to whatever city I happen to live in) A CRAZY GUY NAMED HANS WHO LIVES SOMEWHERE OVERSEAS Scott Albin D. Amorosi Nick Bewsey Mickey Mouse Larry Birnbaum Paul Blair Philip Booth Michael Boume Marcela Breton Christian Broecking Brent Burton L.H. Oswald Fred Cisterna Thomas Conrad J.D. Considine Owen Cordle Lawrence Cosentino Michael Coyle Steve Dollar Ron "deaf in both ears" Shur Colin Fleming Dick Cheney Ken Franckling David Fricke Andrew Gilbert James Hale Andrey Henkin Lynn Horton Martin Johnson L George Kanzler Fred Kaplan Larry Kart Mark Keresman Aidan Levy Suzanne Lorge Kevin Lynch Elliot Ness Shaunna Morrison Machosky Ted Panken Joel Roberts Chris Robinson Britt Robson Jeff Stockton George Varga Jason Weiss K. Leander Williams

I saw the original interview with Evan's girlfriend in Jazzwax and, honestly, she hasn't a clue. Deluded and on another planet. Just my opinion.

I haven't a clue but the best person I can think of for this question is Dan Morgenstern at Rutgers - email me at work tomorrow (alowe@unum.com) and I'll send you Dan's email address -

interested in the Babs; now, there was more than one of his books that appeared, IIRC, and one (or maybe both) had a fair amount of anti-semitic comments in them.

that's fine - but please post nude pics here of notable critics, for the purpose of blackmail.

thanks, I've been going through FB and aaj but may have missed a few.

does anyone have contact info for the following (preferably email addresses)? Peter Margasak John Murph Lars Gotrich Derk Richardson Joel Roberts Chris Robinson Britt Robson

all of jazz is out of tune

I actually have no idea; someone referred to them on another thread. wait, just looked it up - basically it looks like it refers to tones that surround the main tone - like b and d in relation to C. I think.....

he mighta been running with scissors - but seriously that's an amazing pic, amazing in that it even exists -

using a time machine is always risky - take it from one who caused the last big banking crisis.