Room arranger tool free5/16/2023 Most academic educations situations, while they are far from useless, have the disadvantage of being ghettos of like age and experience where one is more powerfully influenced by one’s contemporaries than one’s teachers. I learned more, and more quickly, in apprenticeship situations where I was surrounded by those with greater age and experience and had to struggle to keep up. The circumstances most helpful to me were not strictly academic. Wherever one is headed, there are multiple paths. Where I am is, in many ways, no longer available. Do you have any words of wisdom for people who might aspire to get where you are in their own careers? A most useful piece of equipment is an X Keys keyboard I use with Keyboard Maestro software to control many time and irritation saving macros. I have a favorite bass - a Glaesel from 1894 that’s recently been restored, and it’s a particularly satisfying instrument.īesides that, I work daily writing music using Finale (on a Mac) in a comfortable small studio with good playback equipment, including Audeze LCD-1s. Is there any gear you find yourself turning to most when working on a project? What are some of your favorite tools/instruments recently? At least those over which one can exert some control. I’m not always successful in maintaining that attitude, but it’s my intention, and it does help to think of difficulties that way rather than as unusual obstacles. I make an effort to treat it as a friendly confrontation and try to deal with it as a normal sensation on the path to achievement. It took a long time, and some maturity, to realize frustration is simply the resistance you feel when you’re moving forward, so my attitude towards it has changed. I used to avoid frustration, although I can certainly attest to a life that hasn’t been free of it. Can you briefly describe a moment of frustration from your past work, and what you may have done to overcome the obstacles? Would you approach it differently now? The bassist Oscar Pettiford was an early influence, and when I first heard Bill Evans, before I had the opportunity to work with him, his music represented an ideal balance of aesthetic principles for me. Can you name any factors you feel majorly influenced the course of your musical life? Heroes, role models, moments, interactions, etc? I’ve always been interested in audio and recording and have followed that ancillary interest as long as I’ve been a musician. And that was only one of many impressive people to whom my parents provided access. Paul Robeson was my kid brother’s godfather, and you don’t forget that voice, or that level of integrity and commitment. My stepfather was a fine classical baritone, and there were musicians and music in the house all the time. I’ve played music almost as long as I can remember, from playing the guitar and cello starting around 10 years old. How did you get started in music/audio production? I won a Grammy last year for my work on a project with mezzo soprano, Joyce DiDonato. Most of what I do now is as bassist/leader/composer/arranger. I worked for some years as a freelance jazz bassist. How would you define your main role on most of the projects you work on? A lot of the band’s music can be found on the website. I have a fine nonet here in Portland, and as soon as we can get back to performing and recording, that will occupy my attention and dispel nostalgia. So my favorite things are often those I’m working on at the moment. Like many musicians, I live in the present. There were many performances with the National Jazz Ensemble in the 1970s that remain memorable. I’m happy with almost all the work I did with Bill Evans - particularly a concert at the ORTF in Paris in 1965 that’s been poorly distributed on pirate labels but may soon become more widely available, and the work with Bill’s trio and Swedish singer, Monica Zetterlund. Here's our chat with Chuck: Can you pick out any favorites from your work that you're particularly proud of? Every incremental improvement removes a veil and gets me a step closer to 'in the room' nirvana." - Chuck Israels "I use my LCD-1s when I need to hear deeply into editing or mixing.
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