PASIC 2012 - Austin, Texas

What a great PASIC this year!

It was almost non-stop on my booth. I sold every last triangle and - as you can see - I had a few! Interest in them was already pretty high, but it was boosted further by the use of my triangles by Nicholas Ormrod of the Orchestra of the Royal Opera House, London in his Symphonic Accessories masterclass and also by Keith Aleo of Zildjian in his clinic.

I had visits from players with all the local symphony orchestras - Austin, Dallas, Houston and San Antonio, plus the Florida Orchestra, the Bergen Philharmonic and others. There was a lot of interest also in the 100% reliable bowing capabilities of the Bat-Wing gongs. I was told to rename them "Lord of the Rings" gongs!

So, besides the triangles, I also sold a bunch of cymbals, hi-hats and smaller gongs. A very successful show.

I had the pleasure of meeting with old friends, plus making a whole load of new ones including Johnny Rabb, Ari Hoenig, Todd Sucherman, Luis Conte, Richie Garcia and Ralph Humphrey.

PASIC has a lovely relaxed atmosphere. It's all about the art and about percussion education. This show, more than others, is much more about cameraderie than competition. The setting too - Austin in Autumn - was a lot of fun. Great people, great vibe, great food.

I believe PASIC is back in Indianapolis next year - which is nice enough, especially the selection of "brewpubs". But, I'm looking forwards more to a return to Texas at some point.

Next to Last Night of the Proms

Long time no blog. I really need to make a note to write updates more often!

Yesterday, I was in the Royal Albert Hall in London, to catch the last part of the Vienna Philharmonic Orchestra's rehearsal of Haydn and Strauss before meeting up with the 7-strong percussion section. The music I heard was quite beautiful and haunting, but that was soon to be replaced with the clashing of cymbals and the pinging of triangles - sometimes several at once!

This often happens when I show instruments to a group of people, and it does amuse me. It's not so bad with triangles, but with cymbals, in a small room, several people all trying them out at once is quite cacophonous and I'm sure each player can't really hear in proper detail the instrument they are checking out. Waiting and taking turns is better, but I can't fault the enthusiasm to hear the sounds!

That said, the Austrians didn't all go at the cymbals together; just the triangles, and just at first. I am very grateful for their feedback and opinions on my work. Every orchestra has its own "house sound". The triangle they currently use is 20-year old stock, no longer produced, found in the back of a dusty music store - the culmination of a long search. It was nice that 3 of my offerings also made the cut - one Brass and two high-carbon Steel hand-forged triangles. Plus a further two, much smaller Bronze ones for operatic works.

Comparing my clash cymbals with theirs was most instructive - and amusing that the pair they considered very bright were considered "really quite dark" by American symphony players back in May. As I said, every orchestra has its own tastes!

So, how can I refine my orchestral cymbals based on such contrasting feedback? Well, there were still common themes coming out - things I hadn't heard in the cymbals myself. Time to train my ears more, maybe pull in some Fourier analysis too. Onwards and upwards!

Autumn Cannibals

Well, the Whitby Gothic Weekend was a blast. I was up there on the north-east coast providing cymbals and a gong for top L.A. drummer, Tom Coyne, and one of his bands, Autumn Cannibals - the new solo project of Jeff Diehm from The Last Dance.

They played an excellent set and it was nice to hear my cymbals in a concert setting over a huge P.A. for a change. The crowd was into it too, and was a sight to behold. Such amazing outfits! Everything from Steampunk and near-fetish wear down to "traditional" goth blackness.

I enjoyed staying with the band and a few of their friends in a huge house up on the clifftops. Slightly disappointed in the double-glazed windows though. It would have been nice to hear the waves crashing into the shore more easily while drifting off to sleep. The Cannibals had flown in just for this gig, so they arrived and departed more-or-less in synch with me - Friday night to Sunday morning.

I look forward to catching up with them again when I head out to their home ground in January for the NAMM show.

Meanwhile, here's a couple of songs from their set:

http://www.youtube.com/watch?v=traLzUq1mqY
http://www.youtube.com/watch?v=VLv7NhpEcwo

Most illuminating

Each time I shoot a promo video for my work, I try to do it a litle better than last time; learning from mistakes and experience. Apart from the ones where I've had direct help from Andy Mac (which are of vastly superior quality!), hopefully you can notice a gradual improvement from video to video.

The latest one was a medium scale production for me. Not too long, elaborate or fancy, but not a short, thrown together with little care piece either. Here it is on youtube - http://www.youtube.com/watch?v=mUQOZ4_b_zQ

I wanted to get the lighting better than before. But without spending any money on fancy equipment. Before, I have used multiple small spot-lights (the ones from my exhibition booth rig), but these are actually pretty dim for photography / videography and they cast hard shadows and give you over-sparkly point reflections.

What I needed was flood-lights in "soft-boxes" - to create a larger, more diffuse light source to soften the shadows and make reflections of the lights less offensive.

I made 2 of them in very Heath-Robinson fashion. Both from cheap halogen flood lights that I already had. One with two microphone stands and a large sheet of tissue paper:



The second, I made with a cymbal boom arm stand, a microphone stand and an old coated drum head:



I had them either side of the scene so the drums were illuminated quite evenly from both sides (and also from the existing overhead lighting in the room):



Seemed to work pretty well. I had to add a "flag" to screen off the right hand soft-box later on, when I had a video camera with a wide-angle lens on it out in front of the kit. The light, even though out of shot, was still getting into the lens and creating a lens flare. So I hung a black sheet (like the ones I've used as the backdrop) from one of the microphone stands that was actually being used to hold a microphone to block the light to lens path, but not the light to drums path.

So, you don't necessarily need proper, expensive Gobos and soft-boxes to do a reasonable job...