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alaurelcharlotte · 5 months

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Digital vs Acoustic: Which Piano Should You Rent?

Piano rental has become an increasingly popular option for musicians, students, and enthusiasts alike. However, when faced with the choice between digital and acoustic pianos, it can be challenging to determine which one is the right fit for your needs. In this comprehensive guide, we'll explore the pros and cons of each type of piano to help you make an informed decision.

Digital Pianos: Advantages and Disadvantages

Digital pianos have revolutionized the music industry with their advanced technology and versatility. These instruments offer several advantages that make them appealing options for rental:

Advantages:

Portability: Digital pianos are generally lighter and more compact than their acoustic counterparts, making them easier to transport and fit into smaller spaces.

Versatility: Digital pianos often come equipped with a variety of features, including built-in sounds, recording capabilities, and headphone jacks for silent practice.

Lower Maintenance: Unlike acoustic pianos, digital pianos do not require tuning, which can save both time and money in the long run.

Disadvantages:

Sound Quality: While digital pianos strive to replicate the sound of acoustic instruments, some players may find the tone to be less authentic or lacking in depth.

Authenticity: The feel of playing a digital piano may not fully replicate the experience of playing an acoustic instrument, particularly for advanced pianists who are accustomed to the nuances of touch and response.

Acoustic Pianos: Pros and Cons

Acoustic pianos have a timeless appeal and produce a rich, resonant sound that is beloved by musicians worldwide. Here are some reasons why you might consider renting an acoustic piano:

Pros:

Sound Quality: Acoustic pianos produce a warm, natural sound that cannot be replicated by digital instruments, providing a truly immersive playing experience.

Touch Sensitivity: The action of an acoustic piano's keys responds to the player's touch with remarkable sensitivity, allowing for greater expression and dynamics.

Traditional Appeal: Acoustic pianos have a classic elegance and charm that can enhance any environment, from concert halls to living rooms.

Cons:

Size and Weight: Acoustic pianos are larger and heavier than digital pianos, which can pose challenges for those with limited space or mobility.

Maintenance: Acoustic pianos require regular tuning and maintenance to keep them in optimal condition, which can be costly and time-consuming.

Factors to Consider When Choosing

When deciding between digital and acoustic pianos for rental, several factors should be taken into account:

Sound Quality: Consider whether you prioritize the authentic sound of an acoustic piano or the versatility of digital sound options.

Touch and Feel: Evaluate the responsiveness and feel of the keys to ensure a comfortable playing experience.

Portability and Space: Determine whether portability or space constraints are significant factors in your decision-making process.

Budget: Take into account the initial cost, maintenance expenses, and long-term investment associated with each type of piano.

Skill Level and Purpose: Tailor your choice based on your proficiency level and intended use, whether for practice, performance, or recording.

Personal Preferences and Needs

Ultimately, the decision between digital and acoustic pianos comes down to personal preferences and individual needs. Here are some tips to help you find the perfect fit:

Visit showrooms and test out different models to get a feel for their sound and playability.

Seek advice from experienced musicians or piano teachers who can offer valuable insights and recommendations.

Consider renting both digital and acoustic pianos for a trial period to see which one suits you best in real-world scenarios.

Conclusion

In conclusion, choosing between digital and acoustic pianos for rental is a significant decision that requires careful consideration. By weighing the pros and cons of each option and taking into account your personal preferences and needs, you can find the perfect piano to inspire your musical journey. Whether you opt for the convenience of a digital instrument or the timeless allure of an acoustic piano, may your rental experience be harmonious and fulfilling. If you're looking to rent a piano in Singapore, explore your options with reputable rental services to find the ideal instrument for your needs.

#rent a piano in singapore

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tedslist · 8 months

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Musical Instrument Reviews: Navigating the Harmony of Choices

In the world of music, the right instrument is not just a tool; it's a partner in the journey of creativity and expression. The quest for the perfect musical Instrument Reviews can be as complex as the art of music itself. With countless options available, from traditional acoustic instruments to modern digital gadgets, navigating through the sea of choices can feel overwhelming. This article aims to guide both novices and seasoned musicians through the process of selecting instruments that resonate with their artistic aspirations and practical needs.

Understanding Your Musical Goals

Before diving into the specifics of different instruments, it's crucial to reflect on your musical goals. Are you looking to master classical compositions, produce electronic music, or experiment with world music? Your objectives will significantly influence the type of instrument that best suits your needs. For instance, aspiring classical pianists will gravitate towards grand pianos or upright pianos, while electronic music producers might lean towards synthesizers and MIDI controllers.

Acoustic vs. Electronic Instruments

The debate between acoustic and electronic instruments is as old as the latter's existence. Acoustic instruments, such as violins, guitars, and pianos, offer a rich, authentic sound that has been cherished for centuries. They require physical techniques and nuances that can profoundly affect the music's expression. On the other hand, electronic instruments, including electric guitars, synthesizers, and digital pianos, provide versatility, convenience, and a wide array of sounds that can be manipulated in countless ways. Your choice will depend on the sound you are seeking and the convenience you desire during practice and performance.

Research and Reviews

Once you have a clear idea of the type of instrument you're interested in, the next step is research. Online forums, YouTube channels, and music blogs are invaluable resources where you can find detailed reviews and comparisons. Pay attention to reviews from professionals and experienced musicians who can provide insights into the instrument's playability, durability, and sound quality. However, remember that personal preference plays a significant role, and what works for one musician might not suit another.

Trying Instruments First-hand

While online reviews and recommendations are helpful, nothing beats the experience of trying an instrument yourself. Visit local music stores, where you can feel the instrument, hear its sound, and assess its build quality. Some stores even offer rental services, allowing you to test an instrument for an extended period before making a purchase decision.

Consideration for Beginners

For beginners, the priority should be on instruments that are user-friendly and offer a gentle learning curve. Look for instruments with a robust community of learners and accessible learning resources, such as online tutorials and lesson books. Additionally, consider the instrument's maintenance needs and whether you're ready to commit to its care.

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Musical Instruments

Music Education

#Musical Instrument Reviews

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uniquemagazinementality · 1 year

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Affordable Musical Instruments for Beginners

If you're a beginner looking to dive into the world of music, you'll be pleased to know that quality musical instruments are available at budget-friendly prices.

Affordable Musical Instruments for Beginners

In this article, we'll explore five affordable musical instruments suitable for beginners that offer excellent quality and value.

1. Acoustic Guitars

Acoustic guitars are popular among beginners for their versatility and accessibility. Here are two budget-friendly options:

- Yamaha FG700S: Yamaha's FG700S is known for its exceptional quality, warm tone, and comfortable playability. It's an excellent entry-level acoustic guitar.

- Fender FA-115: Fender's FA-115 offers a great balance of affordability and quality, providing a rich, resonant sound that's perfect for beginners.

2. Electric Guitars

If rock, pop, or blues is your preferred genre, consider an electric guitar. Here are two affordable choices:

- Squier Affinity Series Stratocaster: Squier, a subsidiary of Fender, produces the Affinity Series, offering the iconic Stratocaster style and sound at a budget-friendly price.

- Epiphone Les Paul Special II: Epiphone's Les Paul Special II is an affordable electric guitar that delivers a classic rock sound and style reminiscent of the legendary Gibson Les Paul.

3. Keyboards/Pianos

For those interested in piano or keyboard, there are cost-effective options:

- Yamaha PSR-E363: Yamaha's PSR-E363 is a versatile keyboard perfect for beginners. It offers a wide range of sounds and features at a reasonable price.

- Casio CDP-S100: The Casio CDP-S100 is an affordable digital piano that replicates the feel and sound of an acoustic piano while remaining budget-friendly.

4. Violins

Learning to play the violin can be a rewarding experience. Here are two budget-friendly options:

- Mendini MV300: The Mendini MV300 is a well-regarded budget violin, suitable for beginners, and it comes as a complete kit with essential accessories.

- Cecilio CVN-300: Cecilio offers affordable violins with good sound quality and playability, making them ideal for beginners.

5. Flutes

Flutes are known for their melodious sound, and you can find budget-friendly options:

- Yamaha YFL-222: Yamaha's YFL-222 is a top choice for beginners, offering a rich tone and reliable playability.

- Mendini Closed Hole C Flute: Mendini offers affordable flutes with closed holes, which can make learning easier for beginners.

Also Read: Digital vs. Acoustic Instruments: Pros and Cons

Conclusion

These budget-friendly instruments provide excellent quality and value, making them ideal choices for beginners eager to embark on their musical journey without breaking the bank. Whether you're interested in strumming a guitar, tickling the ivories on a keyboard, or creating beautiful melodies with a violin or flute, there's an affordable option waiting to help you discover the joy of making music.

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ezmusicbox · 1 year

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Best Upright Pianos - Our Top 5 Picks and Reviews

In this article, we share our picks of the best upright pianos. Here, we are talking about acoustic pianos. We also have an article about Digital Piano vs. Acoustic Piano if you wish to learn more about their differences. Choosing the best upright acoustic piano ultimately depends on personal preference and specific requirements; however, here, we have five popular options that are highly…

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merriammusicinc · 1 year

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Yamaha P125 vs Casio CDP-S350 | 88-Key Digital Piano | Review & Comparison

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Hello and welcome to another digital piano comparison video and article here at Merriam Pianos. Today we’ll be comparing two of the most popular digital piano models available for under $1,000 CAD on the planet.

On the one hand, we have the Yamaha P-125, which is a favorite here at Merriam Pianos as well as around the world. On the other hand, we have the Casio CDP-S350 which is a relatively new model from them meant to serve the entry-level 88-note weighted action digital piano market.

These portable keyboards are very close in price and appearance, so naturally, many people shopping in this general category, both beginners and experienced musicians, will end up comparing them during the decision-making process. Let’s jump in.

Yamaha P125 vs Casio CDP-S350 - Background The Sub $1,000 Digital Piano Market

When we’re talking about weighted 88-note keyboards available for under $1,000 CAD that is worth serious musical consideration, there’s a fairly small set of instruments to choose from. When we say serious musical consideration, we specifically mean things like quality of tone, speakers, and action - basically, the features that should be top of mind if you’re considering a practice instrument for someone taking piano lessons.

This price range used to be a barren wasteland when it came to credible musical options, to the point that it was almost a cruel joke. If you were trying to get something that felt and sounded like a real piano even five years ago, you were in for a tall order, to the point that there wasn’t even much market demand.

Casio PX-160 - Game Changer Casio CDP-S350

In many ways, Casio has led the way in driving more robust development in this price point by all manufacturers, especially with the release of the PX-160 which really redefined the landscape.

What we're comparing today are two very prominent models in this price range that are absolutely worth musical consideration. The Yamaha P125 runs about $100 more than the Casio CDP-S350 compact digital piano, but nonetheless, these two pianos are sure to be endlessly compared.

That said, they are very different machines, and they deliver very different feature sets. Throughout the remainder of this review, we’ll be exploring those differences, and hopefully painting a picture for anyone looking at both of these pianos as to which one will better suit their needs.

Piano Sound: Yamaha P125 vs Casio CDP-S350 Casio’s Dynamic Stereo Sound Engine

The Casio CDP-S350 is poised to replace the Casio Privia PX-160, but if you went by appearances alone, you wouldn’t know it. The only thing that's really similar between these two instruments is the price point - everything else looks totally different, including a fully redesigned user interface that consists of a super easy-to-use backlit LCD display that makes for great accessibility.

And the other big change - the CDP-S350 is loaded up with 700 instrument sounds. This is a real rarity for the category - typically, digital pianos available in this price range with 88-note weighted actions and quality sound engines tend to have very few sounds.

The sound engine, Casio’s Dynamic Stereo Sound Engine - is delivering a high level of authenticity pretty consistently across the 700 sounds. The acoustic piano sound is quite robust, especially due to the S350’s 16 watts of speaker power.

Yamaha Pure CF Sound Engine

Over on the P125 and we have Yamaha’s Pure CF Sound Engine. For people who are seeking a portable digital piano whose primary role is to be a piano, we think the P-125 has the edge here in terms of acoustic piano sound.

The tone, driven by the high-quality CFIIIS concert grand piano, has more subtlety, especially with things like damper resonance, string resonance, and various reverbs, and we suspect there are more sample layers going into the sample itself - likely a four-layered sample. There is 24 sound presets in total, and while they’re all quite useable (especially the electric pianos), this is of course much less of a selection than what the S350 is offering.

Speakers

Two of the onboard speakers on the P125, tweeters, are upward facing, which is a nice touch since it makes it a lot easier to actually hear what’s going on. There are two additional speakers, so we’re definitely hearing a more full-spectrum sound in terms of the onboard speaker system than what the S350 is delivering.

64 vs 192 Polyphony

Another important difference is polyphony. On the P125, there is 192 note polyphony compared to just 64 notes of maximum polyphony on the S350. If there's one spec on the S350 that is a little puzzling, this would be it, especially since they offer a recording track that allows you to add multiple tracks - you’ll be running out of polyphony fairly quickly.

Having a stronger polyphony count is really important if you plan on getting into any arranging or layering, and even for more complex classical playing.

Quality vs Quantity of Sounds

Somebody looking primarily for an acoustic piano replacement is likely going to lean toward the P-125. Beyond a more complex piano tone, the P125 also offers things like Sound Boost, Stereophonic Optimizer, and Intelligent Acoustic Control which further help in refining the sound.

Somebody looking for a wider set of sounds and features, perhaps even for gigging, will probably find a better value on the S350.

Piano Action: Yamaha P125 vs Casio CDP-S350 Yamaha P125 vs Casio CDP-S350 Piano Action

Casio’s Scaled Hammer Action Keyboard vs Yamaha’s Graded Hammer Standard

The Casio CDP-S350 is using a new key action from Casio, which they’re calling their Scaled Hammer Action Keyboard II. The P125 is using the Graded Hammer Standard (GHS) action, which is a staple throughout Yamaha’s lineup. Both of these actions feature 88 weighted keys so the crucial box is checked with the correct number of keys here.

Neither action features escapement, but there is a big difference between the two actions that are immediately apparent and that’s with regard to the texture on the key tops.

Key Tops

The GHS action has a glossy keytop as opposed to a textured keytop on the white keys and in some instances, it ends up providing too much grip which in turn can cause the skin on your fingers to peel back. Fortunately, there is a slight matte texture that eliminates this problem on the black keys.

The S350’s action has an exaggerated texture that provides a very nice level of glide, which is a definite advantage here. More expensive Yamaha pianos have actions with textures, so it’s a shame that Yamaha isn’t incorporating a texture into their GHS action.

Responsiveness

In terms of responsiveness, we’d also have to give the nod to the S350 here - the P125’s GHS action just feels a little bit too spongy. This is a super personal thing, and the GHS action has many loyal fans, but this just happens to be our observation.

The S350’s Scaled Hammer Action Keyboard II feels like a slightly heavier version of Kawai's RHC action found in the ES110, and in some ways, actually feels even more solid. The touch sensitivity also happens to feel better than the GHS here as well. It would work well as a synth or MIDI controller.

Ultimately, the GHS is a fine action, it’s just been out for quite a few years now and happens to feel a little bit dated when it comparing to a new action such as Casio’s Scaled Hammer Action Keyboard II.

Features: Yamaha P125 vs Casio CDP-S350 Auto Accompaniment

Both pianos feature built-in auto-accompaniment, which is really great for the price point. Auto-accompaniment allows you to use your left hand to generate harmony, and it will add drums and other musical instruments as a sort of backing band, allowing you to play overtop with your right hand.

Both piano keyboards pull this off really well, though there are significantly more accompaniment rhythms and patterns on the S350, so if this feature is important to you, take note of that. The Casio CDP-S350 also gives you the option of running it with AA batteries and given its extremely slim frame and lightweight, it’s a very portable instrument in every sense of the word.

Other Functions

Other features like Split Mode, Duet, and Layer are covered on both pianos, as well as standards like a metronome and transpose. The S350 has a pitch bend wheel which adds to its potential appeal as an arranger-style instrument.

Both pianos also have a built-in MIDI recorder for recording and playback.

Connectivity: Yamaha P125 vs Casio CDP-S350 Casio - Chordana Play App

When it comes to connectivity, both pianos have class-compliant USB ports (USB MIDI), and this is how you’ll connect to your iOS device (iPad and iPhones), Android device, or computer since neither instrument has a Bluetooth connection, unfortunately. That said, you should definitely check out the free apps such as the Casio Chordana Play for Piano app and the Yamaha Smart Pianist App.

Both pianos have headphone stereo outputs as would be expected, but an area where the P125 excels is that Yamaha has included an AUX out port if you’d like to connect to an amplifier, you can do so without having to use the headphone jack and an adapter as you do on the S350. The S350 also has an audio input.

Pedals

Both pianos include basic footswitch sustain pedals, though we would recommend upgrading to nicer offerings from each company. Each also has the option to add a triple pedal unit, as well as a matching keyboard stand. Each piano includes a music rest and power adapter (power supply) in the box.

Closing Thoughts

This pretty much sums up our comparison of the Yamaha P125 vs Casio CDPS350. These instruments are close in price, with the P125 being slightly more expensive and offering a more piano-centric experience. The sound engine and speaker system on the P125 are geared toward people who are looking for an instrument to be primarily used as an acoustic piano substitute.

On the Casio side, the obvious immediate strength is the sheer number and variety of onboard tones since there’s simply nothing else in this price range with solid tone and touch that overs this range of sounds.

The interface is easy to navigate, which makes getting around the rhythm functionality, playing internal demo songs, or selecting from that huge amount of tone. From an action perspective, we do prefer the CDP-S350’s hammer action keys over the P125’s as well.

Ultimately, we’ve got an interesting mix of pros and cons on both sides. The P125 is going to be an enticing choice for many people simply by virtue of being a Yamaha product, and rightly so - it’s a very good instrument made by a very good company. But we would strongly recommend anyone intrigued by what they read about the S350 here, give it a shot - for many people, it will actually be a better fit.

Thanks for reading!

The post Yamaha P125 vs Casio CDP-S350 | 88-Key Digital Piano | Review & Comparison first appeared on Merriam Pianos

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#yamaha p125 vs casio CDP-S350 #yamaha p125 #casio cdp-s350 #digital piano #yamaha

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thebandcampdiaries · 2 years

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Monti Korbelle is back on the scene with a brand new studio effort: "Our Conclusion Is in Arizona"

November 2022 - Monti Korbelle has released another fantastic and richly nuanced release named "Our Conclusion Is in Arizona". All of the ingredients for an excellent sonic mix are all there, and this new studio work feels like a perfect example of what this talented artist is capable of.

Some musicians tend to get stuck to a single genre, but this is definitely not Monti Korbelle’s case. He feels quite comfortable in exploring different ideas and creative avenues, going for a diverse and one-of-a-kind feel. Sometimes, you’ve got to look back in order to move forward, and it feels like Monti Korbelle learned this valuable lessons, as his music has a retro twist in some ways, although it still feels fresh and unapologetically modern, unafraid to explore new territories and cover new ground with some incredibly cool arrangements and instrument ideas to spice up the mix.

Find out more about Monti Korbelle, and do not miss out on "Our Conclusion Is in Arizona". This release is now available on some of the best digital music streaming platforms, and it comes highly recommended to any fan of artists such as Holly Herndon, Jackson Wang, Francis Moon, Coldplay, and Mogli, only to mention but a few.

https://twitter.com/montikorbelle

https://open.spotify.com/artist/2UEEiw3iM1DqDG8oFzvooI

https://twitter.com/montikorbelle

We also had a chance to ask the artist a few questions: keep reading for more!

I love how you manage to render your tracks so personal and organic. Does the melody come first?

Answer:

Good art is a balance of unlimited comparisons, and with that there are required choices: polished vs. organic, autotuned vs. natural, conventional vs. experimental, full vs. mysterious. I often flip on the autotune effect because I like the sound it gives, but I at the same time experiment with ways to go beyond the restrictions autotune places to avoid a result that is dry and “manufactured.” There are numerous ways we can make a sound, but with each we have to make choices. If I choose a drum machine over a live drum-set recording, what messages am I conveying? Is there something less human about a digital synth when compared to the sound of a restaurant piano? You have to think about your answer, unless of course you are vehemently against electronic music in all of its forms. When a human becomes a creative with electronic tools, it is the responsibility of the human to show signs of humanity behind the curtain if that is the choice for the desired product.

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Answer:

When I walk into an Austin 6th Street bar on a Thursday night to see a man sitting on stool with a microphone and an acoustic guitar, I have no desires to be this man. I’m confident this man, and others like him, feel, when the crowd of nine people or less show signs of wishing the music volume could be turned down so they wouldn’t have to shout while ordering a drink, a sense of worthlessness as he and others like him wonder if what they perform is not music, but rather just a loud atmospheric background noise to simply become a memory clouded or forgotten by “the audience.” We have to then turn to this question: what is a music artist? Are we slaves? Yes. While it is my firm decision to not contact the bar owner to sit in this same stool on the stage at this Austin 6th Street bar on a Wednesday so the few patrons can feel warm inside knowing they support a local artist by simply sharing a space for an hour with one, I too consider myself a slave. However, it is important to recognize that a true artist is free, and therefore the artist is free to choose what type of slavery to conduct on themselves. Even a commissioned painter is free to choose the pallet. Instead of subjecting myself in public in this manner, as a local music artist, a sideshow, publicly showing my face in hopes of converting these drunk people into Spotify streams so I have something to show for my effort, or maybe at least a dollar in the hat making me feel like I don’t separate far from the homeless man, also on 6th Street, doing the same thing I am but on the sidewalk with a saxophone, possibly with more talent than I have⁠—instead I place myself in a metaphorical jailcell where I am not allowed to exit until I am satisfied with my portfolio, or in more pretentious terms, my “body of work.” I am the slave to myself, and in this dynamic, there are moments where I can trick myself to believe I am the master.

If you could only pick one song to make a “first impression,” which would it be and why?

Answer:

This depends on the person. My ex-girlfriend, as an example, hated all of my songs. She begged for me to quit. I’ve dodged ultimatums. Unnecessary compromises were made. There is not one song in my portfolio that I would choose to make a “first impression” with for this type of person as I would immediately be told that I am not worthy of creating anything and I should only be subjected to thoughts of guilt and shame. On the other hand, some people enjoy experimental alternative music, so for them I would probably recommend my song “Cry For Me.”

What does it take to be “innovative” in music?

Answer:

I’ve struggled with coming up for an explanation for where ideas come from for far too long, but for now I will settle on the idea of an ether. Ideas float around us like jellyfish in this invisible ether all around us, sometimes permeating through the skull like a sperm-cell fertilizing an egg, and it is the responsibility of the consciousness to either reject or accept this gift from the ether. From there, and this is crucial, we are responsible as primate creatures to not spoil this metaphysical gift.

Do you have any upcoming release or tour coming up?

Answer:

My next album will be an album of healing. On the side, I am working with collaborators for my album to come afterward, which will be an album of controlled insanity. I hope to convey a defined juxtaposition between these two albums, where the first is careful, intricate, simple while complex, and the second is something to be described as one of the strangest experiences ever had during an album listening session.

What is the best way for fans to connect with you online?

Answer:

DM me on Instagram. Pour your heart into my inbox. Let’s talk.

https://www.instagram.com/positivemonti/

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iamsexaddicted · 2 years

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awinter2 · 2 years

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#Casio cdp s350 vs Yamaha p125

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villamiral · 2 years

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mainsinn · 2 years

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thesunlounge · 3 years

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Reviews 370: Coyote

I have been mostly absent as of late due to the pressures of completing my PhD studies, but now that the work there is finishing, I am trying to return to regular reviewing. And for months and months now, one of the records I’ve most wanted to discuss has been Coyote’s Buzzard Country, released last year on their home station Is it Balearic? Recordings. In fact, my delay has been so extreme that, not only has Coyote released an accompanying Buzzard Country Remixes 12”—which I will cover here as well—they have also dropped the incredible Return to Life 12”, and even announced a new 2xLP slated for the summer called The Mystery Light. But better late than never, and there is no way I can pass up the chance to at last write in depth about the music of Timm Sure and Ampo. I say “at last” because, despite the fact that I consider Coyote amongst my very favorite recording artists, you would be forgiven for not knowing that by scanning the Sun Lounge archives. Though I’ve had opportunity to discuss their work here and there via remixes (such as on Blank & Jones’ Relax: The Sunset Sessions 2 and Joe Morris’ Cloud Nine 12”), by some strange turn of fate, Coyote has released no vinyl of their own since this blog’s inception...something that only changed very recently. Indeed, prior to 2020, the last time the duo put out solo works on wax was their stunning 2016 run, which included the Song Dogs LP, the Fight the Future 12” on Clandestino, and the seventh EP in their long running self-titled series on Is It Balearic? Which is not to say they weren’t active, and in fact, Timm Sure and Ampo delivered a really great set of digital singles and EPs in collaboration with Music for Dreams, and additionally, they remained active with remix and DJ work. As well, Buzzard Country was due quite a bit earlier than 2020, but was unfortunately plagued by production delays. To at last get to the point, this is all a roundabout way of saying that I am really excited to have plenty of Coyote to write about now and in the future, so that I can finally pay proper tribute to this foundational duo of the modern balearic beat.

As I’ve explored the balearic soundworld, Ampo and Timm Sure have always been beacons of light guiding me on my path, whether through their eclectic productions as Coyote, through the curation of Is It Balearic?, Über, and the Magic Wand edit series, or through their mixes and DJ sets, which are typically loaded with unheard treasures that lean towards the trippier and dubbier ends of the chill out spectrum. And it is this tendency towards the psychoactive that most endears me to Coyote, for the duo have always championed an authentic balearic spirit, one that foregrounds the music’s connections to the hippie hedonist heydays of Ibiza, to the second summer of love, and to a spirit of ecstatic abandon, one that is equally imbued with a magical sense of melancholy…of a feeling of being in paradise, but knowing it can’t last…as if the moments of revelatory magic—of wild nights dancing and sunrise comedowns—are tempered in real-time with senses of longing and regret. Which brings me finally to Buzzard Country, Coyote’s fifth full-length LP and a pitch-perfect encapsulation of their signature mixture of wistful melodic nostalgia and daydream seaside grooving. Across the album, baggy beats morph between downbeat disco, stoner dub, and world exotica while bottom heavy basslines work the body. Echoing vocal samples thread around hand drums tapestries, emotional washes of synthesis flow over radiant piano chords, and at crucial moments, the exotica guitar flourishes of longtime collaborator Saro Tribastone carry the mind away to lands of faraway fantasy. As for the Buzzard Country Remixes 12”, the A-side is given over to the Hardway Brothers, who brilliantly transform the album’s “Sun Culture” into varying landscapes of ultra deep Chain Reaction style dub wizardry. Then on the B-side, Woolfy vs. Projections and Max Essa respectively flip album stand outs “Shimmer Dub” and “Ranura de Marihuana” into their own specific strains of equatorial dancefloor euphoria, with each remix pushing the mind, body, and spirit towards maximal beach boogie mania.

Coyote - Buzzard Country (Is It Balearic? Recordings, 2020) “Soaring” begins with buzzard calls and hovering breaths of synthesis evoking a new dawn. Ripples form in the ether via bubbling squarewave synth leads, and pulsating dub bass sits beneath a blanket of sighing strings. The carrion calls continue streaking through the mix and celestial pianos rain down while echoing playfully across the spectrum. Plucked bass electronics bounce in counterpoint and hesitate woodwind glimmers call to mind flashing laser lights beneath a beautiful sea surface…almost as if a flute has been transmuted into a rapid fire fractal vibration. At times the strings back away, leaving layers of rainbow colored ocean ambiance to flutter and dance, all before ending with white noise delay oscillations that mimic the swell of ocean waves. Then in “Soft Top Saab,” an echo-soaked voice muses on the sunrise, with chills running down the spine as the solar affirmations are increasingly surrounded by space age string synths, and by Sara Tribastone’s mystical guitar filigrees. Reversing melodies enter the spectrum and swell the heart while shakers and tambourines hold a gentle beat. Tribastone’s guitar serenades softly overhead, with plucked textures of synthetic wood and stone dancing in the background. Further delay-laced pianos fade into view, with the track ebbing and flowing…growing and receding…and sometimes backing down into understated back and forth between guitar and piano, wherein harmonious brass layers and swells of spectral space glitter moving at the periphery. The result is a conversational interchange between seaside melancholy and romantic nostalgia, one which is eventually superseded by cosmic flutters, soft six string dances, and the spoken spells of a reggae mystic, who gives thanks to the sun, and its bounty of restorative light.

Dusty acoustic guitars and sunrise vapors introduce “Shimmer Dub,” while dancing dub bass portends the first real taste of a groove. A rocking hypno-rhythm comes into focus and laid back snares guide the infectious glide, while tablas roll overhead and evocative vocal layers thread through the mix. Steel pan synths are seen through the titular shimmer and wavering wavefronts of blurred melody wash over everything, until the mix drops down into a haze of stoned exotica comprised of a minimalist pallet of tabla rhythms, bleary-eyed pads, and thrilling vocal incantations…the effect like awakening on the shores of some faraway ocean paradise, with visages of desert caravan rituals preceding in the distance. The dubbed out groove eventually resurges, with passages given over to extended echo percussion experiments and the fragile songs of tropical idiophones. Feminine vocals glow like some intoxicating gas of multi-hued magic, and springy basslines guide the body while hi-hats and snare work through a psychedelic skank. Smoldering currents of ether move through the stereo field and moments of subtle intensity erupt from the horizontal vibe out…with airy woodwinds shrouded in static, claps cracking, and hand drums creating webs of groove mesmerism. And as the beat starts to vaporize, echo oscillations set the air aflame amidst fantasy orchestrations.

“Ranura de Marihuana” bathes in echo acoustic guitars that seem beamed in from some distant past…these evocations of classical folk music futurized via layers of fx. An ecstatic scream washes the mix clean, and a four-to-the-floor kick drum emerges to pound in the void, while overhead, Flamenco-indebted guitars spin webs of magic and reverberating vocals call to the spirits of sea and sky….sometimes whispering, other times shrieking wildly into the night. Sub-earthen bass movements are felt more than head, with exotic dub lines moving far beneath the surface. Bongos and congas pop and nervous shaker patterns lead the downbeat disco strut, while guitars work through further Mediterranean hooks and Iberian flourishes. A moment is given over to heavy bass and kaleidoscopic hand percussion–with scatting vocals, reverberating snaps, and lost souls wailing in desperation–and when the groove snaps back, there are touches of tango kissing the preceding, which bring to mind a rose-in-mouth glide across some dark and mysterious dancefloor, wherein spindly psych folk guitar melodies work the mind and airy drum rhythmics entrance the body. The kick climbs back towards dancefloor strength, with desert mystic percussions moving all around the mix and vocals morphing though fever dream echo layers. Elements from across the track refract through oscillating delay machines, and touches of rave haunt the rhythms, especially as subsonic basslines and subdued breakbeats work together.

A single piano note brings light to the darkness in “Sun Culture” and layers of radiance rain down in the form of heart-melting piano chordscapes, with some of that Screamadelica soul bliss suffusing the progressions. Warming pads envelope everything and deep dub pulses walk down white sand beaches, with shakers and lysergic breaths giving shape to the groove. Hi-hats, snare taps, and beachside bongos enter and buzzing guitar notes give off waves of golden light while overhead, liquids drip from the roofs of ocean cliff caverns. The single piano note continues to glow while souflul chords hold the mind in a state of psychedelic rapture, and space age ethers blind all vision as they spread outwards, then recede. Coyote move the track progressively towards a state of horizontal bliss, with almost everything washing away except the summery piano incantations, which are so soaked in reverb as to generate billowing cloudforms with every single note. Hushed rhythms return and hand drums take on a slight sense of urgency while pads generate layers of oceanic warmth, resulting in an audial invitation to greet the rising sun, and a naturalistic tribute to crashing waves and drifting clouds.

Intergalactic pads breath in “Dos Canas,” with tones wispy and suffused with inner light. Palm-muting electric guitars dance like bubbles through the ocean blue, and a touch of kosmische ambiance is soon tempered by bulbous dub basslines and splayed out layers of percussion, wherein the mechanic and organic merge seamlessly. Electroid sketches and seed shakers move in time as a slow and low balearic skank emerges, with glorious tones of brass pulsing overhead before ascending to the heavens on currents of humid tropical air. Hand drums circle the mix as the heavy atmospheres recede, leaving vaporous rhythms and golden synth strands to intertwine. Heartwarming chords give off mirage shimmers as the dub bass works its way back in, bringing with it further layers of world drum delirium. Soft sirens pan before giving way to more of the ascendent brass synthesis, and hisses of white noise add layers of subtle psychotropia. Snares are blasted into bursts of desert sand and all throughout the mix, various strands of melody and harmony are caught within oscillating delay cycles…progressively distorting and roaring into the ether. Shakers and 16th note hi-hats lead the groove while bongos and idiophones dance playfully against the snare and kick, until it all breaks down into an ambient outro of serene static, sighing strings, and layers of phasing rainbow light.

“Feedback Valley” closes the show with synth incantations portending the glow of a glorious sunrise, while shakers generate an infectious shuffle. Tribastone and his acoustic guitar explore Flamenco landscapes and a four-four kick drums hits against the body while layers of synthesis radiate compelling colorations. Babbling voices ride a serpentine synth sequence and touches of acid bass move in support, with cut-off filters opening as the snare drops, creating a head-nodding and body bopping groove that lifts the spirit towards the sky. The sequential electronics are so effective as they bob and weave through the mix, creating an effortless vibe of beach dance perfection…of hands-in-the-air euphoria and the abandonment of all worry or fear. Additional touches of six string sunshine push the mind every towards the shores of Ibiza and during a breakdown into burning delay feedback, synthesizers filter into solar squelch and guitars drift towards psychedelic delirium. A slow yet anthemic snare roll calls to mind big room trance as it brings the groove back into focus, now with 3D synth snaps firing in the left ear as the ever-present sequence reduces to a calming purr. Tribastone continues letting loose threads of sunshine lysergia and points of synthetic light swell into magnificent globes of blinding incandenscence. And towards the end, an echo-shrouded choir of the sea sings beneath a brief guitar fantasia before it all washes away in a scream of oscillation.

Coyote - Buzzard Country Remixes (Is It Balearic? Recordings, 2021) The Hardway Brothers take “Sun Culture” into ultra-deep territory across two versions on the A-side, with the first being the very aptly named “Balearic Channel Remix”…which is of course a reference to the work of Mark Ernestus and Moritz von Oswald. Underground warehouse kick drums pound beneath hissing space fluids, as a low down Chain Reaction-style groove emerges, though with its eyes locked on a melting sunset panorama. Liquiform chords flow into cold industrial caverns and string synths suffuse the reverberating spaces with splashes of sunshine, while sub bass motions vibrate the soul. Shadowy tracers flit across the sky and DMT vibrato waves squiggle at hyperspeed, yet their effect is blunted and muted. Claustrophobic clouds fade in then out while melodic piano chordstrokes reflect in strange ways off of glowing walls of stone, their effect like gemstones glimmering underwater, yet with their luster sanded away by the march of time. Muted dub chords are caught in crackling delay chains and the deep kicks and jacking bass never relent in their heads down, hands-in-the-air stomp. Snares are reduced to a whisper and shaker patterns cause head-bobbing hypnotism as funky chords bring touches of liquid fusion grooving…only as if proceeding in the middle of a dub techno fever dream. Insectoid chitters move in from all corners of the mix, sawing sirens swirl into screams of feedback, and all the while, drum circle flourishes are shattered into a web echoing delirium.

Next comes Sun Culture “(Hardway Brothers Meet Monkton Uptown),” which sees the bass going even deeper somehow, as growling riddims menace the mind and rattle the ribcage. We soon find ourselves in another subaquatic dub techno dopamine dream, wherein kick, snare and hi-hat lock in for maximal hypnotic effect. Sometimes the bass guitar of Duncan Gray seems to take on a post-punk drug chug edge, and at some point, the rhythms pull away, leaving chopped up voices to decay into the void. Bassline and beats return and streaks of feedback sing softly over everything, while fogs of seafoam move at the outer edges of the stereo field. Clouds of solar static are seen from millions of miles away and traces of flamboyant fuzz guitar are submerged into a pooling vortex of deep dub delirium, emerging stretched out and mutated into currents of neon starshine. Gray's melodic basslines serenade through the underground club grooves, those funky chords return to sing their 70s fusion songs within layers of sighing feedback, and increasingly, the mix is overwhelmed by distorted blasts of drug-induced haze. Abstracted voices filter from one ear to the other…their unintelligible spells of esoteric mystery pushing the mind ever further towards astral activation. And towards the ends, the original tracks Primal Scream-style piano chord structures can just be heard amidst feedback fires, delay detritus, and morphing vocal abstractions.

In the Woolfy vs Projections mix of “Shimmer Dub,” the original track’s hand percussions intermingle with gurgling rhythmic fluids…the effect like wandering upon some tribal jungle ceremonial. Big blasts of downer synth bass are soaked in reverb, repetitive synth pulses tickle the mind, and pillowy arpeggios flow into view while those familiar synthetic steel drums shine in the sunlight. Fingers roll across myriad skins as the kick drum drops away, leaving the mind to swim in a world of equatorial energy. Then, as the bass drum resumes–with shakers never relenting–a new bassline emerges, bringing with it a heavy touch of wiggling squiggling Italo boogie. The vibe is hesitant…anxious even…with a persistent refusal to lock in, and as bass bursts grow in intensity, the rest of the mix begins reverberating into a balearic dreamscape. Following a delirious pause, the track explodes into flamboyant disco funk perfection, as sweltering chord hazes melt from the sky and bouncing basslines join an infectious and tropically tinged body groove. Chords scat, virtual marimbas dance, synthetic steel pans shimmer across the spectrum, and swells of white light synthesis overwhelm the mind...the whole thing as massive a groove as there could possibly be. Touches of electro kiss the rhythms and futuristic synth riffs fire as we back down into a swinging breakbeat, with rapid keyboard riffs locking into heady funk cycles and stadium-sized tom tom fills splaying out across the stereo field. Guitar licks are soaked in sunshine as they lead a dubwise swing, and as we explode once more into the block rocking groove, double time shakers and hats push the vibe towards dance party mania…all as coral-colored leads rush through star ocean fx clouds.

Max Essa’s take on “Ranura de Marihuana” sees a four-four kick smacking with infectious disco dance energy and hand percussion flowing all around. A snare crack introduces another groove indebted to Italo boogie, with big bottomed synth basslines accentuating the vibes of beach dance euphoria. Shakers spread into sandy clouds of atmosphere and heatwave pads sweat and squelch as starlight arppegios race across the sky. The vibe of Ibizan melancholia is here perfected, causing body and soul to merge in hedonistic ecstasy, and though the track resembles one of Essa’s characteristic blue ocean dancefloor cruisers, its a little slower and baggier than usual, which fits completely with Coyote’s zoner stoner vibe. Seascape pianos bring a peaktime fee and at certain moments, the groove momentarily recedes, only to rush back in on an infectious snare crack. Ivory melodies are increasingly strange and psychotropic as they flutter across the mix, with decaying vibration tails carried away on an aqueous breeze. The radiant piano chords and vocalizations from the original swim into the stereo field as Essa barrels down into a heavy bassline stomp, with every pulling away aside from smeared out voices and 70s prog rock pads that evoke a string orchestra tuning to the sounds of the stars. Further clap cracks bring back layers of equatorial euphoria and the vocals are used to incredible effect, with echoing snippets repurposed as anthemic hooks. Pianos continue their alien dance over relaxed disco rhythms and snapping funk basslines, and as we move towards the end, claps and basslines fire rapidly as vocals morph through slapback oscillations…all before dropping into one last expanse of seaside dancefloor magic, with dub disco beats, infectious world percussion rolls, and a pleading voices diffusing towards a gorgeous sunset horizon.

(images from my personal copies)

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michaelncarla2-6-blog · 6 years

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jefferyryanlong · 6 years

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Fresh Listen - Ray Barbee, Tiara for Computer (Um Yeah Arts, 2018)

(Some pieces of recorded music operate more like organisms than records. They live, they breathe, they reproduce. Fresh Listen is a periodic review of recently and not so recently released albums that crawl among us like radioactive spiders, gifting us with superpowers from their stingers.)

Around Christmas-time 2018, my good friend Nathan invited us to a shindig at the Hawai'i Bowl, a post-season exhibition game at the Aloha Stadium, UH vs. LA Tech. Pregame was an all-you-can-eat/drink “tailgate.” Over-salted and overheated meatballs and short ribs, prepared frozen food from institutional distributors, served alongside twelve-ounce Coors Light or Heineken. The kind of party more fun in the abstract--in real time, you inevitably get sucked under a sluggish and dehydrated day drunk, and no quantity of soggy tater tots can pull you out.

As soon as we took our seats under a canopy set up just beyond the parking lot and in front of the entrance to the stadium, we realized conversation would be impossible. The band, a nameless cover group that interspersed Christmas tunes with their catalog of oldies, was too loud, and we had no choice but to drink silently and listen resentfully. The lead guitarist, hamming it up in an a Santa hat, was for the most part terrible and tried to compensate with a series of funny faces to the audience. (Granted, there were a few lines and riffs he had somehow motivated himself to practice to an almost polish). My girlfriend Rachel, who hears music with a far more sophisticated ear than I ever will, thought the drummer was “dragging” in most of the songs, but I just attributed his playing as part of the overall mess. Eventually the band gave over to the bass player, a thin white dude in an Aloha shirt, and he shocked all of us by manifesting not only the note-perfect bottom end but also the soulful vocal stylings of Motown’s greatest hits. But the true revelation of this performance was the keyboard player.

Nathan described her voice as Dionne Warwick at the Apollo, the sound of a class act singing her way back to the roughest definitions of her soul. While the keyboardist did have the coffee and cream smoothness of Dionne, she also carried in that voice a swallow of grit on the back end. It was a voice with some miles on it, a voice that had sung the story of heartbreak so often it could open up that valve to the universal pain in the speaking of a vowel, a syllable. This wasn't just the voice of God--it was undeniably human, the voice of desire and desperation and exultation.

But not just her voice that surprised and moved us--it was her mastery of her keyboard, a general issue piece of equipment, a preset memory bank of synthesized sounds. She could power her way through piano chords on covers of Adele, she could color the bass player’s R’n’B aspirations with bursts of faux horns. And when she needed to emotional immediacy of a note bend, a twang, that offset cry that simulates the human voice coming to grips with great feeling, the fingers of her left hand caressed the synth’s pitch shifter, modulating the artificial tones toward something that came close to natural. As fake and insufferable as they are in other cover groups, this specific keyboard transformed the liabilities of this imperfect band into strengths.

Because of the perceived dangers of displacing otherwise capable musicians, electronic synthesizers were surprisingly slow to be incorporated into popular music. The earliest recordings of synth music were put to tape by avant grade composers and theorists. For the most part failing to re-conceptualize the parameters as a whole new different conglomeration of sounds, these musicians took it upon themselves to recreate classic pieces of music through programming and note translation. (Their radioactive experiments, which pulsate and glow with the impossibility of ever striking a listener to the emotional core, are nonetheless compelling, unlistenable gems, evolving later into the computer program that stiltedly regurgitated an idealized, dehumanized melody, the theory of which was data-entried into its memory banks).

Kraftwerk pushed toward pop music as a synthesizer ensemble, but a true human face was not added to the cold, detached robotic visage until artists like David Bowie or Donna Summer coopted the German aesthetic for their Berlin and disco records. Stevie Wonder, perhaps because of his universal acclaim as a songwriter, vocalist, and instrumentalist, doesn’t receive enough credit as an electronic music pioneer, though he was utilizing synthesizer technology as early as 1972′s Music of My Mind. Over layers of weirdly chorded synths (all of them played himself), Wonder inserted a soul into the music, with his pure, flawed voice. With his inimitable, low-key drum style, he imparted a living heartbeat.

Ray Barbee’s Tiara for Computer references the trading away of old wealth for new knowledge. Specifically, an ornate but inherent useless crown-petite for the technological advantage of digital processing. As we as peoples evolve, we are learning how important it is to be plugged into the resources available via great swathes of digitized information, and progress itself is now dependent on effectively utilizing this digitized information. To evolve nowadays, to simply grow, is to synthesize the mind with the databases we move between daily. At least, that’s what we’ve convinced ourselves of.

With the help of Tortoise percussionist John Herndon, Barbee carries forward Stevie Wonder’s aesthetic, though without vocals: synth layers with a live backbeat. If there is one drawback to this approach, it’s that Tiara for Computer comes close to sounding like a Tortoise record, minus the off-kilter timing and overly cerebral melodies. Like his skater-musician colleague Tommy Guerrero, who appears on Tiara for Computer through his handclaps, Barbee’s musical drive is based on setting minimal and insanely catching melodies--through riffs and repeated lines--in stone. There are, for the most part, beginnings, middles, and ends to his songs, and on this record, aside from a few exceptions, Barbee doesn’t waste his time with free-floating beeps and tones, those textures that rise to the surface on the periphery of Radiohead records.

A fluctuating drone kicks off “Pink Noise,” an electro-alarm that announces the sonic equivalent of of a video game race over translucent tracks refracting pixels of light into rainbow prisms under the air wheels of futuristic machines. A bass synth figure keeps the track moving briskly along, subtly propelled by a tightly strummed electric guitar creating the impression of velocity. First buried low in the track, the guitar bursts into a shower of sparks as the song makes its last sprint around the length of space circling our heads.

There will come a time when the guitars and pianos and violins and saxophones of our present will exist as mere artifacts, like reproductions of lutes from Ancient Greece. The expression of the infinite well of human feeling will be predicated on the communication through a digitized language, absorbed through synapses that have evolved adequately for these missives to hit their mark. “Future Blues” is is Barbee’s rough sketch at what this music will sound like, discovering in the programmed notes of electronic keyboards a means to delicately portray he desolation of the human condition. The song could almost be a sketch from the outtakes of Kid A, grappling with it does the undead cry of technology in a struggle to capture a living sentiment.

“What’s His Neck” continues the exuberance of “Pink Noise,” a more melodically sophisticated piece accented by Barbee’s guitar and a chorus of handclaps. The fullest “band” song on he record, the song accelerates to a rave-like intensity. In contrast, “Ocra vs. Jaba” comes across as almost sanctimonious. Despite the complicated drum figure and Barbee’s groove-based riff, the overwhelming synths drag the song into a kind of slow motion, a ponderous moment that creates in the imagination a starship docking on the interior of a space station.

Herndon has several shining moments on Tiara for Computer, but his impact is never so apparent as on “Tina Cut.” As a drummer, his role in the song is minimal, tasked to ground Barbee’s sequenced movements with a steady beat that could never be replicated by a computer. The slight accents that vary between the snare, hi-hat, bass drum, and cymbals--plus the breathless manner in which Herndon pushes the sonic monolith of synths through a kind of weightless space--comes as close to a credible synthesis between electronic and live instruments. The sequel to “Tina Cut,” Ornithology,” replaces that living rhythm with a more mechanized beat, capturing Barbee’s thinking out loud through his synths.

“Holding Company,” with its processed acoustic guitar arpeggios and slacker groove, calls back to Tommy Guerrero’s laid back aesthetic, with a little of Oliver Nelson’s “Skull Session” thrown in. Barbee forsakes his firmly established melodies on the album’s title track, a tightly orchestrated freakout that, if stripped of its electricity and played by horns, could be the outro of a jazz record, notes arising and from the noise and latching onto one another briefly before traveling astray.

With its hybridization of live and electronic instruments, Tiara for Computer might have been produced ten, fifteen years ago. It is not a groundbreaking record in the sense of reshaping the potentialities of this music. What is important about Tiara for Computer is Barbee’s excitement in engaging new modes of expression beyond his already formidable guitar work, while composing music that is, in its complex simplicity, quintessentially his own. Barbee is growing into the 21st Century, hypothesizing new ways of playing and hearing as he develops his aesthetic palette.

#freshlisten #raybarbee #tiaraforcomputer

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