The Jethro Tull version of Bach's Bouree is one of my musical touchstones. It was the first thing I'd learned on the flute (at least the melody I mean). And as much as television shows like HBO's Vinyl exude raw hatred for Tull, the jazz version of the bouree is absolutely brilliant.
And that brilliance would be completely absent if it weren't for the bass part. Glenn Cornick was an amazing player and the bass solo does one of the things one does not normally expect from a bass solo: it's musical.
A kind of study of theme and variation, using the counterpoint to the melody as the starting place (which, c'mon, that's awesome), the bass part actually goes into freaking chords. Chords, man. Chords. Chords on bass are notoriously muddy. But Cornick, genius that he was, created a whole subject/answer jazz/rock classical/modern simple/elegant part with this piece.
The simple/elegant part of it makes it surprisingly tricky to play.
The best tab I can find for it is on Songsterr. Some of the positions, however, seem suspect to me. There are some jumps which seem unnecessary and looking at videos of Cornick playing it, he doesn't seem to be playing it that way.
But it's a good start. And tablature is not a terrible way to read either. There are some time things which confuse me somewhat. But I'm getting over them.
What would be in the interest of preventing an otherwise formidable instance without the means.
Saturday, April 30, 2016
Wednesday, April 27, 2016
Universal Robotics
One of the finest plays of the 21st Century. And no, that's not hyperbole at all. This play will change your life. If you're out-of-town, come into town and see this.
This play is going to sell out so you're going to want to buy tickets right now.
§§§§§
Gideon Productions presents
at The Sheen Center:
Universal Robots
Written by Mac Rodgers
Directed by Jordana Williams
Directed by Jordana Williams
June 3–26, 2016
Black Box TheaterGet Tickets
Offering a compelling alternate history of the twentieth
century, imagining the invention of the robot in 1921 and chronicling
the shocking consequences of that invention, Universal Robots
is part science fiction thriller, part political allegory and part love
story masterpiece written by Mac Rogers and produced by the
award-winning theater company Gideon Productions.

The Great War has just ended. The fledgling
Republic of Czechoslovakia boasts a thriving artistic community. At the
center of that community is Karel Capek, a celebrated playwright and a
passionate advocate for all his newborn nation can achieve. But this
brave new world arrives faster that Karel could have ever expected when a
young woman walks into his life with a strange mannequin in a
wheelchair... a mannequin that gets up and walks all by itself.
UNIVERSAL ROBOTS offers a compelling alternate history of the Twentieth
Century, imagining the invention of the robot in 1921 Czechoslovakia and
chronicling the shocking consequences of that invention right up to the
present day. Part science fiction thriller, part love story, part
political allegory, UNIVERSAL ROBOTS is a fast-paced, riveting story of
war, faith, art and technology that culminates, in the words
of NYTheatre's Martin Denton, in an "edge-of-your-seat finish equal to
the best storytelling of stage and screen."
GIDEON PRODUCTIONS crafts gripping plays that
explore human grace and darkness, through the kaleidoscope of popular
genre forms and other cultural touchstones. We reject the notion that
thrills are cheap or that big ideas are boring. We explore
what’s strange about being human and what’s human about being strange,
using thrilling entertainment as a delivery system for challenging
stories that take on religion, sexuality, politics, compulsion, popular
culture, and the often strange bonds that tie people together in a
rapidly changing world. We honor the time our audiences and
collaborators devote to our productions and seek to deliver the utmost
quality in experience and content.
Cast announcement here.
Info about the Sheen Center here.
Special Performances:
Thursday, June 9 - Interpreted for the Deaf
Sunday, June 12 - Family support, Teaching artists taking care of kids.
Wednesday, June 15 - Interpreted for the Blind.
Upcoming Performances

Fixing Samplitude
So of course I'm last-minute scrambling to get a feature film out the door and... Samplitude crashes on bounce-to-disk
This is the solution from tech support:
| This is my preferred screen layout. Note that when I click on the mixer it sits atop everything but the transport controls and meters. As it should. |
This is the solution from tech support:
Please make a reset of the Samplitude programsettingIf that doesn't make sense, I made a little video to explain:
System Options (Y) >
Option Administration
First load the Samplitude standard Preset from the Preset field.
Tick Audio/MIDI Settings, Visualisation Settings and Window positions
Click on Restore settings and restart program.
Please safe your shotcuts and color options before doing so.
Friday, April 15, 2016
Economies of Blurry Costumes Enloudened
The economics of a TV show. (It's not really the economics of a TV show, more general network economics. So. Like that.
Box blur. Is better than directional blur or gaussian blur or fast blur. So says Stu. So say we all.
Scene Sick is a company that makes post-apocalyptic clothes. Like Mad Max-type stuff. Reasonably priced and very sci-fi.
HideAMic is a series of products for putting the Sanken COS11 in clothes. I'm not entirely sure how they work or if they're better than the soft pads with tape on either side, but it's nice to have options.
Box blur. Is better than directional blur or gaussian blur or fast blur. So says Stu. So say we all.
| I just steal all my content from Kevin Kangas. |
Scene Sick is a company that makes post-apocalyptic clothes. Like Mad Max-type stuff. Reasonably priced and very sci-fi.
HideAMic is a series of products for putting the Sanken COS11 in clothes. I'm not entirely sure how they work or if they're better than the soft pads with tape on either side, but it's nice to have options.
Wednesday, April 13, 2016
EQ's and guitar making
I made a quick and dirty tutorial on using a parametric EQ in Samplitude. This is the first episode of the second season of Sound Design Tips and Tricks for Stage and Screen.
The economics of guitar making. Takeaways:
The economics of guitar making. Takeaways:
- All mass produced guitars really are of about the same quality: they're all made by the same machines no matter what country they're produced in
- Cheaper guitars have to go cheaper on components for the manufacturer to have a prayer at netting a profit -- making it vastly more economical for the end-user to simply drop in new pickups and the like on inexpensive instruments
Monday, April 11, 2016
EB-0 review
So I got an EB-0 bass. Here's my Conversation with Ethan about it. Well, it's what Ethan has to say about it at least.
§
EB-0, huh? Never been a big fan, but I suppose Jack Bruce's opinion ought to be worth something and he certainly seemed to like them. Or, at least, he did until he got a deal with Warwick....
Mike Watt likes 'em, too, but he modifies them, like, a LOT*, and only likes the ones from around 1963 to 1967. To me, they always balanced funny, the pickup placement made for a muddy tone and the necks were usually too skinny for me. On the other hand, Gibson's been making them, in some variant or other, since 1962 or so which means there's somebody out there who likes them enough to buy them.
*Watt typically removes the original pickup and covers the hole, then routs a new hole and mounts a humbucker right at the midpoint between the bridge and neck (like a P-bass). Sometimes he also adds a preamp, sometimes not. He only uses them live, preferring a long-scale bass for recording. Says he likes gigging the EB basses because of their light weight and short scale - easier on his hands and back now that he's "less young". It makes sense: he plays very long sets, still tours incessantly and is now, I believe, over 60. He's also a very physical player.
Normally, he records with a Moon J-Bass. I'm sure the vintage police would cringe at what he's doing to mid-'60s EB-0s and EB-3s, but he's making his living with these things and has no concern whatsoever about their vintage status. One of his faves during his fIREHOSE days was a '50s P-bass routed for Gibson Thunderbird pickups.
§
After all is said and done I think I don't even care either way about the DiMarzio pickups. The Epiphone EB-0 is just a very nice instrument out of the box. Update: Short version: I like the Thomastik-Infeld JF324 strings, the Hipshot bridge just doesn't work for me.
Thursday, April 07, 2016
Broke Bass
So, I went out on a limb and a bought an Epiphone EB-0 even though I haven't sold my Squire 5-string Jazz bass yet.
I ordered it from Sweetwater but unfortunately it arrived with a gouge in it.
Now, the fact is that I'm likely to put some sort of nick or dent in the guitar within the first 20 hours or so of my owning it. But at least if that happens I'm the one who did it. Not a person at Gibson or Sweetwater or whatever (the packaging didn't look damaged, I suspect it was damaged while being placed in its box.)
So presumably I'm getting a new bass tomorrow via FedEx, along with a shipping label to send the broken one back.
Then I'll make a couple videos -- one with the bass stock, one with a new pickup, new bridge, new strings. I guess that's one video multiple scenes or something.
I ordered it from Sweetwater but unfortunately it arrived with a gouge in it.
Now, the fact is that I'm likely to put some sort of nick or dent in the guitar within the first 20 hours or so of my owning it. But at least if that happens I'm the one who did it. Not a person at Gibson or Sweetwater or whatever (the packaging didn't look damaged, I suspect it was damaged while being placed in its box.)
So presumably I'm getting a new bass tomorrow via FedEx, along with a shipping label to send the broken one back.
Then I'll make a couple videos -- one with the bass stock, one with a new pickup, new bridge, new strings. I guess that's one video multiple scenes or something.
Friday, April 01, 2016
Sound Things Today
Here are the service manuals and such for the AKG HSD271 headphones with boom mic. Mine has no audio in the left ear and I have no idea why.
The Strymon Big Sky seems like a pretty cool reverb pedal but what I really like is the piece of music they recorded for this demo.
Sweetwater has a pretty good summary article on line arrays. If the inverse square law ticks you off, line arrays may be for you.
The Strymon Big Sky seems like a pretty cool reverb pedal but what I really like is the piece of music they recorded for this demo.
Sweetwater has a pretty good summary article on line arrays. If the inverse square law ticks you off, line arrays may be for you.
Wednesday, March 30, 2016
Thinking about basses
My Squire 5-string Jazz bass just isn't speaking to me the way I wish it would. I'm thinking it may be time to replace it. I'm interested in a short-scale bass.
The Epiphone EB-0 is cool. The Interwebs says it has a terrible stock pickup though. People seem to like the DiMarzio Model One as a replacement pickup for it. And, honestly, one might want to replace both the tuners and the bridge. So a $230 guitar becomes a $425 guitar. But still, short scale, and very nice looking (I have a bit of a "thing" for Gibson style rather than Fender).
What's likely even cooler is the Epiphone Allen Woody Wildcat bass.
People seem to like the pickups. And quite honestly they're in a more reasonable position than the pickups in many Gibson/Epiphone basses. People still like to replace the bridge, maybe the tuners. But they seem to dig the pickups. This is a $450 bass.
The Epiphone EB-0 is cool. The Interwebs says it has a terrible stock pickup though. People seem to like the DiMarzio Model One as a replacement pickup for it. And, honestly, one might want to replace both the tuners and the bridge. So a $230 guitar becomes a $425 guitar. But still, short scale, and very nice looking (I have a bit of a "thing" for Gibson style rather than Fender).
What's likely even cooler is the Epiphone Allen Woody Wildcat bass.
People seem to like the pickups. And quite honestly they're in a more reasonable position than the pickups in many Gibson/Epiphone basses. People still like to replace the bridge, maybe the tuners. But they seem to dig the pickups. This is a $450 bass.
Thursday, March 24, 2016
DAW, Transcriptions, Microphones, and Spaceship Panels
Here is my workstation where I am editing dialog and sound effects and music on Carbon Copy. I actually ended up with two workstations. The other one is half-set-up in the bedroom.
Rev via Kangas. $1/minute transcription. This is relevant to my lifestyle choices.
![]() |
| My little apartment seems weirdly spacious in this view. |
Rev via Kangas. $1/minute transcription. This is relevant to my lifestyle choices.
§
Sanken COS-11 microphones. Without accessories. With accessories. Honestly, with the relatively inexpensive Sennheiser "Evolution" wireless systems I'm fairly happy with the quality of the wireless transmission and reception. I'm not as excited by the microphones that come with them (sort of a cheap-o version of the Sennheiser MK2). And in most scenes one shoots the difference between good mics like the Sanken and bad ones like the MK2 knockoffs really isn't that big a deal. But every once in a while you have a microphone in a bra or elsewhere that the location isn't quite perfect and bleh. The little bit extra by paying upwards of $400 for microphones makes a big difference.§
2 Coast Customs makes props including spaceships panels. Sometimes a man needs spaceship panels.Monday, March 21, 2016
End Titles Things
A reference guide for credits. Most of the following text is by other people.
The order of credits is determined by guild rules -- SAG, the DGA, WGA and other unions. the list that follows is for opening credits.
The order in which credits are billed generally follows their importance to the film, just not linearly. First is usually the motion picture company, followed by the producer, then the 'a film by' credit. Then we see the Title followed by the cast. from there we reverse gears on the whole "order of importance" guideline and work backwards to the director...
PRODUCTION COMPANY presents
a NAME LASTNAME production
a NAME LASTNAME film
"TITLE"
Lead Cast
Supporting Cast
Casting Director
Music Composer
Costume Designer
Associate Producers
Editor(s)
Production Designer
Director of Photography
Executive Producer
Producer
Writer(s)
Director
If the writer and director are the same person, or the director was also a producer, hold his earlier credit and pair it with the more prestigious one (in this case "director"). so you would place "Written and Directed by" or "Produced and Directed by" or "Edited and Directed by" where the Director's credit goes. if your Dp was also your editor, you'd have "Editor and Director of Photography..." falling in the position where the DP credit goes. et cetera.
CLOSING CREDITS
Closing credits do not have any hard and fast rules that dictate how they need to be ordered. But there are conventions that have been established. If you intend to have no opening credits (something George Lucas left the DGA over) you basically put the Director, Writer and Producer credits first, then go down the line for the closing credits:
Director
Writer(s)
Producer
Executive Producer
Lead Cast
Supporting Cast
Director of Photography
Production Designer
Editor(s)
Associate Producers
Costume Designer
Music Composer
Casting Director
***if you credited the above in the opening, closing credits begin here ***
Unit Production Manager
First Assistant Director
Second Assistant Director
Full Cast / Character List
Stunt Dept
Production Departments (Grip, Electric, Camera, Sound, Wardrobe, etc)
Post-Production Departments (Assistant Editors, Visual Effects, Colorist, etc)
Song Credits
Caterer
Title Designer
Special Thanks
Camera, Lenses and Equipment Makers
Location of Final Sound Mix ("Recorded at...")
Copyright ©
Disclaimer
special consideration is given for "name" actors, often they are credited just before the title comes up. and again, you have a lot of wiggle room with closing credits. some films credit the entire cast first, before the director. you have options here.
THE DISCLAIMER
Here is a standard motion picture disclaimer...
"PERSON'S NAME OR PRODUCTION COMPANY" is the author of this motion picture for the purpose of copyrght and other laws.
This motion picture is protected pursuant to the provisions of the laws of the United States of America and other countries. Any unauthorized duplication, distribution and/or exhibition of this motion picture may result in civil liability and criminal prosecution.
Characters and incidents portrayed and the names herein are fictitious, and any similarity to the name, character or history of any person is entirely coincidental and unintentional.
No animals were harmed in the making of this film. [Drew note: isn't this a copyrighted statement held by SAG?]
PRODUCTION LOGO
if you have an Animated Production Company Logo, place that at the very beginning, before your credits. it's the first thing we see. some studios/production companies will tag the logo on at the very end too.
Here's sample text for the 2257 compliance notice:
2257 Compliance: In compliance with United States Code, Title 18, Section 2257, all models, actors, actresses and other persons appearing in any visual depiction of content whether actual sexually explicit conduct, simulated sexual content or otherwise, displayed in the Picture were at least eighteen (18) years of age at the time such depictions were created, and all other visual depictions displayed in the Picture are exempt from the provision of 18 U.S.C. Section 2257 and 28 C.F.R. 75 because such visual depictions do not consist of depictions of conduct as specifically listed in 18 U.S.C Section 2256 (2) (A) through (D), but are merely depictions of non-sexually explicit nudity, or are depictions of simulated sexual conduct, or are otherwise exempt because the visual depictions were created prior to July 3, 1995. Records required to be maintained for such materials pursuant to 18 U.S.C. 2257 and 28 C.F.R. 75 are maintained by Licensor (“2257 Compliance”).
§
OPENING CREDITSThe order of credits is determined by guild rules -- SAG, the DGA, WGA and other unions. the list that follows is for opening credits.
The order in which credits are billed generally follows their importance to the film, just not linearly. First is usually the motion picture company, followed by the producer, then the 'a film by' credit. Then we see the Title followed by the cast. from there we reverse gears on the whole "order of importance" guideline and work backwards to the director...
PRODUCTION COMPANY presents
a NAME LASTNAME production
a NAME LASTNAME film
"TITLE"
Lead Cast
Supporting Cast
Casting Director
Music Composer
Costume Designer
Associate Producers
Editor(s)
Production Designer
Director of Photography
Executive Producer
Producer
Writer(s)
Director
If the writer and director are the same person, or the director was also a producer, hold his earlier credit and pair it with the more prestigious one (in this case "director"). so you would place "Written and Directed by" or "Produced and Directed by" or "Edited and Directed by" where the Director's credit goes. if your Dp was also your editor, you'd have "Editor and Director of Photography..." falling in the position where the DP credit goes. et cetera.
CLOSING CREDITS
Closing credits do not have any hard and fast rules that dictate how they need to be ordered. But there are conventions that have been established. If you intend to have no opening credits (something George Lucas left the DGA over) you basically put the Director, Writer and Producer credits first, then go down the line for the closing credits:
Director
Writer(s)
Producer
Executive Producer
Lead Cast
Supporting Cast
Director of Photography
Production Designer
Editor(s)
Associate Producers
Costume Designer
Music Composer
Casting Director
***if you credited the above in the opening, closing credits begin here ***
Unit Production Manager
First Assistant Director
Second Assistant Director
Full Cast / Character List
Stunt Dept
Production Departments (Grip, Electric, Camera, Sound, Wardrobe, etc)
Post-Production Departments (Assistant Editors, Visual Effects, Colorist, etc)
Song Credits
Caterer
Title Designer
Special Thanks
Camera, Lenses and Equipment Makers
Location of Final Sound Mix ("Recorded at...")
Copyright ©
Disclaimer
special consideration is given for "name" actors, often they are credited just before the title comes up. and again, you have a lot of wiggle room with closing credits. some films credit the entire cast first, before the director. you have options here.
THE DISCLAIMER
Here is a standard motion picture disclaimer...
"PERSON'S NAME OR PRODUCTION COMPANY" is the author of this motion picture for the purpose of copyrght and other laws.
This motion picture is protected pursuant to the provisions of the laws of the United States of America and other countries. Any unauthorized duplication, distribution and/or exhibition of this motion picture may result in civil liability and criminal prosecution.
Characters and incidents portrayed and the names herein are fictitious, and any similarity to the name, character or history of any person is entirely coincidental and unintentional.
No animals were harmed in the making of this film. [Drew note: isn't this a copyrighted statement held by SAG?]
PRODUCTION LOGO
if you have an Animated Production Company Logo, place that at the very beginning, before your credits. it's the first thing we see. some studios/production companies will tag the logo on at the very end too.
§
Here's sample text for the 2257 compliance notice:
2257 Compliance: In compliance with United States Code, Title 18, Section 2257, all models, actors, actresses and other persons appearing in any visual depiction of content whether actual sexually explicit conduct, simulated sexual content or otherwise, displayed in the Picture were at least eighteen (18) years of age at the time such depictions were created, and all other visual depictions displayed in the Picture are exempt from the provision of 18 U.S.C. Section 2257 and 28 C.F.R. 75 because such visual depictions do not consist of depictions of conduct as specifically listed in 18 U.S.C Section 2256 (2) (A) through (D), but are merely depictions of non-sexually explicit nudity, or are depictions of simulated sexual conduct, or are otherwise exempt because the visual depictions were created prior to July 3, 1995. Records required to be maintained for such materials pursuant to 18 U.S.C. 2257 and 28 C.F.R. 75 are maintained by Licensor (“2257 Compliance”).
Friday, March 18, 2016
To Do
Today's goals involve mixing act 9, working on the end-title credits, and making some android walking in act 3 on Carbon Copy. Also: vacuuming behind my couch.
Thursday, March 17, 2016
Boots
The 500 series Blundstone boots, made in Australia, are supposed to be quite comfy.
The only union-made American boots are Thorogoods. These roofer boots are snazzy but I don't like the color of the soles.
The only union-made American boots are Thorogoods. These roofer boots are snazzy but I don't like the color of the soles.
When do you use large-diaphragm vs small-diaphragm mics?
When do you use large-diaphragm mics? When do you use small ones?
I have no "rule" to answer this with. It always seems arbitrary which one is chosen for which instrument. But those choices seem to be fairly consistent once they're made:
Close-miked voices? Large diaphragm.
Choirs and distant-miked voices? Small diaphragm.
Violins? Small.
Cellos and basses? Large.
Snare drums are inevitably small-diaphragm if you're gonna mic them (which everybody does but for me it doesn't work that great), but overheads become a matter of taste between whatever large or small diaphragm mics you have.
Acoustic guitars -- man, I don't know. I can go either way.
Electric guitar amps -- typically the close mic is small, but a mic 3' to 25' away? That one will typically be a large (if you use a distant mic on your guitar amp which I typically do not).
Large diaphragm mics are more sonically colored.
Small diaphragm are more accurate.
Voices get too strident on small diaphragm mics.
Are these rules? No, they're just my general prejudices and opinions. There what I intuit when I go to mic things. And it troubles me that I don't have any more a firm grasp on the why and wherefores of using a particular microphone type on a particular instrument. But that's all I got.
I have no "rule" to answer this with. It always seems arbitrary which one is chosen for which instrument. But those choices seem to be fairly consistent once they're made:
Close-miked voices? Large diaphragm.
Choirs and distant-miked voices? Small diaphragm.
Violins? Small.
Cellos and basses? Large.
![]() |
| A very weird and specific (albeit reasonably-priced) collection of microphones. |
Snare drums are inevitably small-diaphragm if you're gonna mic them (which everybody does but for me it doesn't work that great), but overheads become a matter of taste between whatever large or small diaphragm mics you have.
Acoustic guitars -- man, I don't know. I can go either way.
Electric guitar amps -- typically the close mic is small, but a mic 3' to 25' away? That one will typically be a large (if you use a distant mic on your guitar amp which I typically do not).
Large diaphragm mics are more sonically colored.
Small diaphragm are more accurate.
Voices get too strident on small diaphragm mics.
Are these rules? No, they're just my general prejudices and opinions. There what I intuit when I go to mic things. And it troubles me that I don't have any more a firm grasp on the why and wherefores of using a particular microphone type on a particular instrument. But that's all I got.
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