iOS 10

I’m wishing Cubasis for iOS 10 had much more hardware support. Cubasis has no support for Presonus, wth? It’s Presonus sad face sad face sad face  

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Moving is not good for your Music?

As I had indicated in my first post in almost 2 years, I moved to Colorado! However moving from a 3 bedroom home to an apartment that was supposed to be short term… well lets just say it sucks beyond belief. For 18 months I played very little guitar thus resulting in my chops becoming diaper green baby doo doo.

Oh, and the delusions of grandeur in moving here resulted in my buying the perfect project studio mix desk:

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That’s precisely where that desk has resided, lonely and not used.  You see the apartment I moved into is really nice High End Nordic style living, but the ceilings are far taller that what we normally have in the US. AND….The walls are filled with concrete YAY! The neighbors will never hear my SHRED right? No they wont, the concrete will just bounce the frequencies as do the tall ceilings, anything you record will sound horrible. It is impossible to record a decent electric guitar tone here even with all the sound treatment I brought with me.

I was stuck, but in more ways than one.

Guess what? Denver is the fastest growing city in the US. Oh crap, my short term housing strategy just turned into a longer term reality. The housing market in every way increased in value, I looked at several homes online that were swallowed up in less than 24 hours. Rentals are the same way. There are far more people in Denver Colorado then there is housing available period. It’s cray cray like nothing I’ve seen ever before :(

What to do…. THE Next, the year of my life I actually almost stopped playing guitar altogether. Let alone compose music, It was terrible.

But it’s late and I need to be a responsible Team Member, more to come in the next few days.

The story does get better 0.o

Hollerrr!

Gratitude

For this Minstrel, life’s great moments can be few and far between just like anyone. When those moments manifest themselves in such a magnificent lovely way, I can’t help but glow with Gratitude. Thank you universe :)

Last night I spent the night with the girl I love, recorded audition tracks for some of the most amazing Prog musicians in my Community, Was gifted Logic X by my best friend and created music with that friend for the entire afternoon.

Dam it feels good to be a Gangster!

gratitudepic

R.I.P. Bill Lawrence

The iconic guitar pickup designer Bill Lawrence has left the building. All Hail Bill Lawrence Huzzah!

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With great sadness in our hearts, the man we know as Bill Lawrence in the music industry passed away on November 2, 2013 at approximately 9:20AM.

BL1Bill was a strong and courageous man. Even in his last few days, Bill fought to live. He’d talk about Music, Pickups & Guitars — and Life, and we, at his company, were still working because this is what Bill Lawrence wanted to know — that his company & legacy is carrying on as usual.

We will miss the Bill Lawrence Mighty Force. Bill brought so much, and he wanted to stay here on earth to keep giving. One thing, yesterday as preparing the necessary paperwork, required is Designation of Race. In Honor of Bill Lawrence and his wishes, we included Human.

A Memorial Service will be held Friday 11/8/13 at 3:00PM Fairhaven Memorial Park 1702 Fairhaven Avenue Santa Ana, Orange County, CA 92705 — 714-633-1442

Love, Becky

Lou Reed, Velvet Underground Leader and Rock Pioneer, Dead at 71

Rolling Stone

Lou Reed, a massively influential songwriter and guitarist who helped shape nearly fifty years of rock music, died today. The cause of his death has not yet been released, but Reed underwent a liver transplant in May.

With the Velvet Underground in the late Sixties, Reed fused street-level urgency with elements of European avant-garde music, marrying beauty and noise, while bringing a whole new lyrical honesty to rock & roll poetry. As a restlessly inventive solo artist, from the Seventies into the 2010s, he was chameleonic, thorny and unpredictable, challenging his fans at every turn. Glam, punk and alternative rock are all unthinkable without his revelatory example. “One chord is fine,” he once said, alluding to his bare-bones guitar style. “Two chords are pushing it. Three chords and you’re into jazz.”

louLewis Allan “Lou” Reed was born in Brooklyn, in 1942. A fan of doo-wop and early rock & roll (he movingly inducted Dion into the Rock and Roll Hall of Fame in 1989), Reed also took formative inspiration during his studies at Syracuse University with the poet Delmore Schwartz. After college, he worked as a staff songwriter for the novelty label Pickwick Records (where he had a minor hit in 1964 with a dance-song parody called “The Ostrich”). In the mid-Sixties, Reed befriended Welsh musician John Cale, a classically trained violist who had performed with groundbreaking minimalist composer La Monte Young. Reed and Cale formed a band called the Primitives, then changed their name to the Warlocks. After meeting guitarist Sterling Morrison and drummer Maureen Tucker, they became the Velvet Underground. With a stark sound and ominous look, the band caught the attention of Andy Warhol, who incorporated the Velvets into his Exploding Plastic Inevitable. “Andy would show his movies on us,” Reed said. “We wore black so you could see the movie. But we were all wearing black anyway.”

“Produced” by Warhol and met with total commercial indifference when it was released in early 1967, VU’s debut The Velvet Underground & Nico stands as a landmark on par with the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and Bob Dylan’s Blonde On Blonde. Reed’s matter-of-fact descriptions of New York’s bohemian demimonde, rife with allusions to drugs and S&M, pushed beyond even the Rolling Stones’ darkest moments, while the heavy doses of distortion and noise for its own sake revolutionized rock guitar. The band’s three subsequent albums – 1968’s even more corrosive sounding White Light/White Heat, 1969’s fragile, folk-toned The Velvet Underground and 1970’s Loaded, which despite being recorded while he was leaving the group, contained two Reed standards, “Rock & Roll” and “Sweet Jane,” were similarly ignored. But they’d be embraced by future generations, cementing the Velvet Underground’s status as the most influential American rock band of all time.

After splitting with the Velvets in 1970, Reed traveled to England and, in characteristically paradoxical fashion, recorded a solo debut backed by members of the progressive-rock band Yes. But it was his next album, 1972’s Transformer, produced by Reed-disciple David Bowie, that pushed him beyond cult status into genuine rock stardom. “Walk On the Wild Side,” a loving yet unsentimental evocation of Warhol’s Factory scene, became a radio hit (despite its allusions to oral sex) and “Satellite of Love” was covered by U2 and others. Reed spent the Seventies defying expectations almost as a kind of sport. 1973’s Berlin was brutal literary bombast while 1974’s Sally Can’t Dance had soul horns and flashy guitar. In 1975 he released Metal Machine Music, a seething all-noise experiment his label RCA marketed as a avant-garde classic music, while 1978’s banter-heavy live album Take No Prisoners was a kind of comedy record in which Reed went on wild tangents and savaged rock critics by name (“Lou sure is adept at figuring out new ways to shit on people,” one of those critics, Robert Christgau, wrote at the time). Explaining his less-than-accommodating career trajectory, Reed told journalist Lester Bangs, “My bullshit is worth more than other people’s diamonds.”

Reed’s ambiguous sexual persona and excessive drug use throughout the Seventies was the stuff of underground rock myth. But in the Eighties, he began to mellow. He married Sylvia Morales and opened a window into his new married life on 1982’s excellent The Blue Mask, his best work since Transformer. His 1984 album New Sensations took a more commercial turn and 1989’s New York ended the decade with a set of funny, politically cutting songs that received universal critical praise. In 1991, he collaborated with Cale on Songs For Drella, a tribute to Warhol. Three years later, the Velvet Underground reunited for a series of successful European gigs.

Reed and Morales divorced in the early Nineties. Within a few years, Reed began a relationship with musician-performance artist Laurie Anderson. The two became an inseparable New York fixture, collaborating and performing live together, while also engaging in civic and environmental activism. They were married in 2008.

Reed continued to follow his own idiosyncratic artistic impulses throughout the ‘00s. The once-decadent rocker became an avid student of T’ai Chi, even bringing his instructor onstage during concerts in 2003. In 2005 he released a double CD called The Raven, based on the work of Edgar Allen Poe. In 2007, he released an ambient album titled Hudson River Wind Meditations. Reed returned to mainstream rock with 2011’s Lulu, a collaboration with Metallica.

“All through this, I’ve always thought that if you thought of all of it as a book then you have the Great American Novel, every record as a chapter,” he told Rolling Stone in 1987. “They’re all in chronological order. You take the whole thing, stack it and listen to it in order, there’s my Great American Novel.”