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On the day the new owner took possession of the property, we heard a knock on the door, and expected an eviction notice. Upon answering it, we met the new owner of the property, Adam Osborne, inventor of the personal computer. We were delighted when he asked us to continue to live there in the apartment in the Valley of the Birds but that is another chapter. The program quickly gained popularity and became widely syndicated.
The rapid growth of the technology and film industries made it an exciting time to live in the San Francisco Bay area. These collaborations were an excursion into unknown territory with audio—a sound trek. At that time , there was a lot of exuberance about Star Wars, and the conventions were fantastic fun! We were invited to perform at these science venues because of our friendships with scientists, being fans of their work, and our collaborations on projects that involved science and music.
It was a lot of technology for us to manage during live performance. Sound engineers often found it challenging to mix our live music because it was difficult to quickly determine which synthesizer was creating each sound, and to know what would be musically happening next. So we mixed our own sound on stage while performing. Although each song had a consistent melody and structure, we purposely changed it from one performance to the next, in order to keep it fresh, interesting, and evolving. We maintained the artistic space to musically react to the audience, light show, or dancers.
An added complexity to our live performance set-up, was that our sequencers at that time had volatile memory, which means when powered down, all sequencer information was erased. To prepare for a concert, we had to arrive early to set up, play in the sequencer parts on keyboard, program the synthesizers, and get a sound check. Losing electrical power before or during the concert was a concern. If someone accidentally flipped off the electric switch, tripped over the electric cord, or if there was a momentary power failure, we would have to reprogram all the notes, timing, tuning, tempos, etc.
This happened several times just before the theater doors opened, and I remember reprogramming sequences in headphones as the audience members were being seated. One of the synths that I played in concerts was an Arp that consistently drifted out of tune. Bob was renowned for his playing and programming of the Lyricon Electronic Wind Instrument. Bob created a variety of sounds on it such as oboe, synthesizer, cello, electric guitar, French horn, and contra bass.
In performance, and when recording in the studio, Bob and I switched between many different instruments. We had to make sure when setting up microphones, keyboards, and mixing board on stage, we both could reach everything from our sustain pedals.
Usually the first two tracks to be recorded included a live mix of the sequencers, synthesizers, and keyboard parts with effects.
If either of us made a mistake on this music bed track, we had to start over again. Because nothing was synced, matching up the sounds and effects for punching in a track was not really an option.
I only recently realised that the movie is based on a book by Michel Faber. How had I ignored it up to now? If only I could roll a cigar around in my mouth like Clint Eastwood. Summer was one of the most consistently summer-like summers in recollection, the rain seemed to bypass our island. It was my first time in attendance and I was bowled over by the genuinely magical, fairy-tale atmosphere.
Galway legend Mike Smalle played a beautiful set under the trees, that weaved everything from Max Romeo to Nolan Porter to Hot Natured into its fabric.
Between the genial atmosphere on the boat, where everyone was best friends by the end of the voyage, followed by a hothouse atmosphere in the club, created by a combination of our guest DJs being on top form and the visiting influx of revellers, it was a day and night that will live long in my memory. Two evocations of hedonistic life in our capital city in different eras also provided food for thought.
The drinking and the poverty they endured to keep on drinking is utterly startling. My best nights DJing all happened at weddings. I was lucky to be invited by some remarkable people to play at their nuptials, more often than not in memorable, bucolic settings to intimate gatherings of sound heads. The atmosphere at these evenings were off-the-hook and has encouraged me to launch myself in the specialist DJ wedding market in the year ahead.
And what about the night the Sleaford Mods came to Galway? Somewhere special, beyond mere nostalgia. Two thousand and fourteen began in an urban idyll: Prenzlauer Berg. Waiting on fingers to defrost to record a range of songs from John Dowland to Richard Thompson. Germany has a lot of saxophone players and a lot of dead saxophone players — I bought a sleeping beauty from a dusty shop — a Martin alto saxophone from More radio followed later in the year working with director Dylan Tighe on a new sound piece celebrating one of our favourite poets, the late Michael Hartnett.
Spending time with the three other members of This is How we Fly has been such a rewarding and important aspect over the last few years. In we got to play in France, Sweden and all over Ireland Baltimore Fiddle Fair does seem in fact to be the best festival here! I loved seeing Ger Wolfe sing in Dublin — gotta be one of the most honest songwriters out there these days.
These events transpired as I concert toured, recorded new albums, did session work, archived old reel-to-reel masters, and enjoyed some amazing adventures!
The high-tech digital animation was projected onto a sixty-foot-wide HD screen with my music and sound effects in surround sound. I enjoyed creating the music, but especially making the sounds of the dinosaurs as they tromp, fight, and perish as a meteor strikes the earth. Playing native flute at sunset, on the top of a burial mound built by the extinct Calusa Indian tribe, may have been one of my concert highlights of the year. I felt as though their spirits were surrounding me, and softly singing.
Now THAT is surround sound! My favorite jam session happened one night as I was playing flute for a star-gazer cruise on a beautiful ship on the Gulf of Mexico. A pod of dolphins arrived, then surrounded the ship as they lifted their ears above the waterline, apparently to listen. They all joined in as they clicked, splashed, and squeaked along with the sound of my flute. There has been a resurgence of interest in the music of my vintage synthesizer and woodwind band, Emerald Web.
The master tapes had to be baked and archived after sitting on the shelf for decades. It was very moving to hear the music again after all those years, as it transported me back to the moment it was created so long ago. Music has the power to do that, especially when it is your own music! I recorded acoustic tracks for a new album with World Percussionist, Nathan Dyke. I played World Flutes in the session, and am now in the process of overdubbing synthesizer tracks to the album.
My session work on flute, EWI, and synthesizers for albums by a variety of musicians include: New Age pioneer Steven Halpern, enchanting folk musician Mariee Sioux, electronic guitarist Barry Cleveland, and legendary heavy metal guitarist Devin Townsend. I am grateful for the wonderful experiences that brought, and look forward to being even better!
Reminds me about us…. A bit like a musical stockholm syndrome…I have fallen in love with my tormentor. Perfectly balanced and executed. The fact that both my girlfriend and my 3 year-old daughter told me that it was the worst thing they ever heard me play at home makes me like it even more.
Semibreve festival in Braga, Portugal: it was a delight to get to play in this beautiful old theatre where they have hosted the festival off the beaten track for several years. The organisers and everything surrounding this small and heartfelt festival was a delight. Peder: Being able to do what I do for another year, to be able to make music and do whatever I want is something I am truly grateful for. Malcolm: The Swedish parliamentary situation which is going from bad to worse rapidly.
We all hope that the re-election in march will clear things up a bit, but as is now its just a farce, with very sinister undertones. Earlier this year marked the eagerly awaited debut full-length release from Swedish electronic artist, Klara Lewis, on the prestigious Editions Mego label.
Seti The First is the Ireland-based cello-led group comprising the songwriting duo of Kevin Murphy cello and Thomas Haugh drums, marxophone, percussion. We toiled relentlessly and finally put it to bed in December.
Cellos still provide the bedrock but there is much more frantic Marxophone and Zither leading the way; overall there is a more aggressive intend this time out. So we focused on some extraordinary historical events, the rise and demise of entire empires and the regimes that followed, huge moments of passion, bloodshed, tragedy and melancholia.
This became the canvas unto which we offered our wandering brush. Thomas: Working on the second Seti album likewise dominated my year, rhythm made an unexpected return to my musical outpouring.
As we got into the spirit of the music—with all of these big themes and ideas, it just became necessary to have that kind of foundation. Some new discoveries for me here too—the Persian Daf drum , an incredibly versatile instrument.
Not a bad aul year. It was late September. Well, we both suffer from car sickness and we had just been on a pilgrimage, you see, and were still trying to process the three hours or so that had just passed. Kate Bush at Eventim Apollo.
Now there was a moment. But that was the night there was a power outage on stage before the show was due to start.
We, the audience, sat waiting for around 50 minutes. I managed to see a lot of great concerts. Bill Callahan at the Olympia, Dublin in February. Cat Power in July, also at the Olympia. Eels at Muziekgebouw, Eindhoven for Naked Song festival. I was playing at the festival and I managed to duck in behind the sound desk an watched the whole concert at the end of the concert Mark jumped off the stage and went around the entire auditorium giving hugs to everyone in his path before ending up back on the stage to play an encore.
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Some features of WorldCat will not be available. Create lists, bibliographies and reviews: or. Search WorldCat Find items in libraries near you. Advanced Search Find a Library.Boom Kat review of The Stargate Tapes album by Emerald Web (Kat Epple and Bob Stohl) **Lushest vintage New Age** “Sharing social circles and spiritual ideologies with artists such as Iasos, Connie Demby and Deuter, whilst splitting label release schedules with Laraaji, Laurie Spiegel and Wendy Carlos, the unique Florida raised soul mate duo known as Emerald Web released their privately.
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