Manny Laureano

...here it is.

http://www.monette.net/newsite/news.htm

It's just a teaser but I hope it proves to be fun nonetheless.

ML

Bear

haha! Showoff... just kidding. You are one bad mofo Mr. L. Anytime you wanna give this poor lil kid some pointers on the classical side of things, lemme have it, lol. Go Tech!! Peace.

Tim

trickg

I like it. I really liked the fact that I really couldn't tell from looking at either one of you which one was playing which part - that sounded really full, robust and effortless - almost like you could cut the sound with a knife.

How did you guys mic it? Is it only the mic on the camera? There is quite a bit of echo too. Is the ceiling on that room high and was there a lot of natural echo in the room?

Something that I thought was interesting was David's alternate fingering. Did he use the 3rd valve to play an E? If so, why? Is it a sound/blend thing or intonation thing?

I thought it sounded great. I want to hear and see more!

__________________
Patrick Gleason
email me at: trickg1@hotmail.com

"What we do in life echoes in eternity"
"At my signal, unleash hell."
- Maximus Decimus Meridius

FlugelFlyer

Too bad my computer sucks, but what I managed to squeeze out of the 2 kilos of useable RAM sounded excellent!

__________________
Bach 180LR, 72 bell
Bach 1-1/2C
Bach 3D

Manny Laureano

Patrick,

It was done just with the mic on the camera and Dave has always expressed a prefernce for using the 3rd valve on the high A's whenever practical. He noticed that Bud always played the high A with the 3rd valve and built the horns with that in mind. I generally just trigger it but when I have a sustained A to play I like the third valve also. It's just a bit of laziness on my part, I think. Truly, though, I go back and forth.

The room has a certain amount of natural echo as the ceilings are quite high. It's a typical large industrial space. If we do that sort of thing again and don't have it be as impromptu as that was, we'll likely have better sound equipment.

I played a few things solo but my favorite licks were the ones I played with Dave Bamonte. He's a first class musician and fun to play with. AND a good storyteller... very funny guy.

ML

ScreaminRaider

It's so purdy. Can't wait for the rest.

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Jonathan Wright

trickg

Ok, so the alternate fingering was an A. That makes sense. It's funny how using an alternate fingering on some notes can cause it to lock in much better with what's going on around it. At one point I was borrowing a little Yamaha D/Eb from a friend, and me and another fine Army trumpet player named Tom Strayer did the trumpet parts on the Hallelujah Chorus from the Messiah. (Tom's D/Eb was a Yamaha too) Prior to doing the performance, we sat down with the parts and figured out which alternate fingerings to use and where to really lock in the parts.

If you guys are getting that kind of sound on the microphone on the camera, I can only imagine what the sound will be like if a better sound setup is used. The room must not have hurt you either. This is a little off topic, but Wynton did a recording once where they used the natural acoustics of the church where they recorded as part of the effects of the recording. Wynton would stand in the places that he would stand as if he were performing, and play into a mic, but they also made use of omni-directional mics in the room as part of the overall mix - those are some of my favorite baroque recordings. If you guys played in that room with a similar setup of directional and omni-directional mics and had it professionally mixed, in spite of the shop equipment in the background, it would probably make for a really nice recording.

__________________
Patrick Gleason
email me at: trickg1@hotmail.com

"What we do in life echoes in eternity"
"At my signal, unleash hell."
- Maximus Decimus Meridius

TrentAustin

Manny, you are amazing! That room must have been shaking with resultant tones! I absolutely love your sound. It's so full of life and personality.... you make me want to play a Monette again.

Thanks for the clip and I hope that more come up soon...

Best,

Trent

PS: When I had my 937 and 993 I played most of my A's with third valve too.... but that's because I AM lazy.

__________________
Trent Austin
http://www.trentaustin.com
http://www.onlinejazzimprovisation.com
Yamaha EM
Yamaha Chicago C
1939 Martin Handcraft Imperial (restored at www.osmun.com)
Olds Clark Terry Flugel
Schilke P5-4
Morrison MDT (coming SOON!)
Other horns fs in Marketplace
Wedge SST mpcs

trickg

Another comment on the subject of the alternate fingering - no explanation is necessary - even though the A might lock a little better with the 3rd valve fingering, it doesn't make you lazy for using it - you do what is necessary to make the best music possible.

Something else that I have noticed, and keep in mind that I know very little about this subject, is that depending on the chord structure, it seems that sometimes if you play a note just a hair high or low of the center of the pitch it "tempers" the chord and really gets it to ring. Does that sound silly or is there something to that? I mean, most of the time a player just uses their ears and makes the minute adjustment automatically, but it sticks in my mind that for instance an A that is played in one chord might not be quite the same A that is played in another - the note is tempered and adjusted both in sound and pitch to best resonate within the chord. Am I nuts or is there some truth to this?

__________________
Patrick Gleason
email me at: trickg1@hotmail.com

"What we do in life echoes in eternity"
"At my signal, unleash hell."
- Maximus Decimus Meridius

JackD

Wow, very clear resultant tones.

I got the MO's Alpine recording on Virgin out of my college library yesterday Manny, electrifying sound!