Official website for singer-songwriter, instrumentalist, recordist and educator Mick Hargreaves, proprietor of the Lantern Sound Recording Rig in Manorville, NY USA.
Live Video from Brooklyn Coffee & Tea House Providence RI USA kirstenmaxwell.com
Rob Europe "See You At The End"
Sneak-peek track from Rob's forthcoming 10-song CD "The Fear" Recorded at the Lantern Sound Recording Rig, produced by Mick Hargreaves and Rob Europe. robeuropemusic.com
The tenth and eleventh installments of our acoustic house concert series at the
Lantern Sound Recording Rig Recording Studio (Manorville, NY) are two Holiday Editions in 2016. Starting time for all shows is 8pm. DJ JTiL takes care of the after-party at both shows. Seating is limited, and RSVP is required. DJ JTiL
The SAT NOV 19 episode features guitar wizard/songwriter JEAN-PAUL VEST (Last
Charge of the Light Horse) and his off-beat tunes, along with CLAIRE RABY, a singer/songwriter who writes dark, emotive ballads with layers
of harmonies and rounds of infectious melodies. Facebook Event Page
We are located in the Central Long Island Pine Barrens, near exit 70 of
the Long Island Expressway. RSVP to Mick Hargreaves via all the usual
Social media avenues, email (info@lanternsoundrecordingrig.com), or call The LSRR Studio at 631-909-3432
to RSVP, get details and location info. Beverages, snacks will be available, and a
$15 suggested donation goes to the artists. Bringing a dish to pass
& BYOB AOK. Doors 8pm, Music 8:30 pm.
PLEASE No flash photography. No undue talking during performances - we are recording all shows.
This is a solo acoustic version of a song that is getting a full-band
treatment by the recording team of songwriters Pete Mancini (Butcher's
Blind), Chris Mehos, Kevin Giordano, and Mick Hargreaves. Performed and produced by Mick Hargreaves.
Recorded with The Lantern Sound Recording Rig.
I need a wall around my house, to keep the riff-raff out.
I'm heard a lot of bad things that I know nothing about.
One quick fix'll do the trick, with no questions asked.
Send the bill to me later, I've Got a Guy For That.
I've Got a Guy For That.
I need a slogan on a poster, a foot inside my mouth.
A wet blanket statement curled right up there on the couch.
I'm seein' crazy scary stuff, I just might pick up a bat.
Steal the words if you have to, I've Got a Guy For That.
I've Got a Guy For That
I need someone to blame, it doesn't matter who;
I don't need a face or name, five numbers will do
It's their fault, case closed, I'm telling' you Jack
Stand up and point a finger; I've Got a Guy For That.
I need a mask to hide my mind, can't let them know it's me
They say what I mean, and that's the way it's gotta be
I got my leader up in front, I keep my woman in back
It's the truth what they say and, I've Got a Guy For That.
I need a new reality, that puts me back on top.
I deserve to be king, but I'm pushin' a mop.
We're gonna take out the trash, and get our kingdom back
We might need to bust some heads, but... I've Got a Guy For That.
I need someone to blame, it doesn't matter who;
I don't need a face or name, five numbers will do
It's their fault, case closed, I'm telling' you Jack
Stand up and point a finger; I've Got a Guy For That.
Burning a CD for review, direct from the final WAV 24bit/48kHz mixes.
At the Lantern Sound Recording Rig, there is a lot of behind-the-scenes nuts-and-bolts thoroughness the artist rarely sees. It's boring, tedious stuff, but totally critical to the overall health and sound of the creation. Take the pre-mastering phase of the process, for instance.
Before finished mixes get sent off to mastering, we run them through the pseudo-mastering "Waveburner" software, pictured here. This is a final check-phase where we examine levels, file integrity, sequence, gaps, and peaks to ensure we're giving the mastering house the best possible files we can. We also burn a CD from Waveburner and generate a list of files indicating bit and sample rates, formats, filenames and desired gaps. This is made into a PDF and sent with the files.
We deliver finished mix files, generally, in the original recording spec: 24-bit / 48 kHz WAV format. (CD spec is 16-bit / 44.1 kHz, and the mastering house is the best place to to that down-sampling gear-grinding).
We don't master stuff. We're not a mastering house, we can't generate DDP files. Besides, you REALLY want an unbiased, fresh set of ears with decades of mastering experience caring for your creation.
If you are mixing your creation on headphones, and then "mastering" things yourself, we may need to have an intervention; We have mastering houses we work with regularly.
Actually, the list could easily be endless, and I'm sure I'll think of something to make this list longer as soon as I publish this. We all know it's a disease and obsession rolled into one, this quest for more gear, better gizmo's, and let's face it... better tone and better playing! Let's assume that the student already has a guitar,
whether it be acoustic (classical nylon-stringed, or some
steel-stringed variety), or electric, with strings already on it, a guitar strap, and the student is eager to play when they're not sleeping, and they enjoy playing guitar.
Here now is my list of 12 Cool Essential Things For Guitar Students, certain to inspire discussion, debate, and ideas.
1. The Guitar Handbook by Ralph Denyer
An amazing book. I got this as a gift one Christmas long ago, and I still refer to it, both at lessons with students and personally at home.
It's easy to dig into fast, but it's so deep you'll be reading from it for years. An incredibly deep examination of guitar method and music theory is accompanied by interviews with some of the greats, and an overview of every type of instrument, amplification, and (somewhat dated) recording gear imaginable. There's a bunch of great reviews here.
(This book might be out of print, but copies can be found cheap on eBay or Amazon. I try to have a few copies on hand as well.)
2. An Extra Set of Strings
Because sooner or later, you're bound to break a string. And that's just one reason.
Early on, I actually run students through the process of changing their strings - it's a good periodic habit to get into, and an important skill to have.
Yet, I encounter guitar players (and not just students, I'm talking about
seasoned players) whose guitar won't stay in tune, or just sounds dull, and it's often because they haven't changed their strings for way too long! After a certain amount of time, even when un-played, strings will get old and tired; putting a new set on can often make you feel as if you've bought a new guitar.
There's so many varieties and choices here, it boggles the mind, and the choice of pick can totally change the sound your guitar makes!
For strumming chords, I generally go with a lighter pick. This makes for a less percussive, smoother-sounding chord, great for accompaniment. But if I am to pick individual notes, runs, riffs, or solos, I reach for a medium pick. Some players (especially electric bassists who use a pick) go with heavier gauges - to each his or her own. I generally stay away from materials that break, such as Tortex. You'll find out what's best for you.
Forget about that gadget that makes picks from credit cards. That material definitely breaks, fast.
Step one: Pick up the guitar. Step two: Check the tuning, and if necessary, take the time to tune it.
That two-step process hasn't really changed, but the variety of tuner technology is overwhelming nowadays. You can get a Tuner App for your phone that will pickup sound via the cell's microphone, and most digital audio workstation (DAW) software incorporates tuner plug-ins.
Many acoustic guitars have tuners incorporated into the body of the instrument, and this often has a "mute" switch integrated, enabling tuning in silence (instead of sending it to any plugged-in amplification). There are the clip-on varieties that attach to the headstock of the guitar. I view these as a good beginner / backup / backstage option, but they don't permit muting of the guitar signal sent out through the jack.
Then there are the stomp-box tuners. They look very similar to guitar effects pedals, but all they do is tune. This is the best stage option, as it can 'live" with other effects pedals, and when stomped, the tuner turns on, and the signal is muted. The soundman and audience will thank you!
Then there's tuning by ear. What? You don't know how to tune by ear? We need to cover that at our first lesson. It helps if there's a piano or keyboard around, but we'll get to that later. :)
Musicians most commonly use a capo to raise the pitch of a fretted instrument
so they can play in a different key using the same fingerings as
playing open (i.e., without a capo). This has led to people calling the capo a "cheater". But that's not the reason that players in the know use a capo.
Since it is used on the neck of guitar to shorten the playable length of the strings, a capo actually raises the pitch of the instrument, and causes it to sound different. This is handy both in live performance situations and in the recording studio when a different tone is desired, and very commonly when two guitar players wish to play the same chords while creating a fuller
sound than they would playing in unison. Typically, one player would employ a capo, the other would not.
Also, is that song you're playing in a key that's difficult for you sing in? Move the capo around! Then just reference the root note to find the new key you're in. "Root Note"? What's that? Need to learn more notes on the neck (which I call "Neck GPS")? We should chat about lessons.
Like mousetraps, there are many types of capos. For live performance I'll use one of the various "quick release" types, but in the recording studio, I use the much more tuning-accurate SHUBB Capo. Capo overview.
6. A Guitar Amplifier.
Acoustic guitarists practicing in the home needn't necessarily worry about this item, but an electric guitarist is certainly going to need an amplifier.
There's no shortage of guitar amplifiers on the market, and there's a constant flow of new developments and models on the scene. One of the tiniest options is also one of the simplest, most interesting, and downright FUN amplifiers out there. The Smokey Amplifier can be held in the palm of your hand, requires only a nine volt battery, and has no controls to worry about. Just plug in a guitar and go. It will even fit in your pocket while in use, AND it can be used as a distortion pre-amp just "in front" of a larger, more conventional guitar amplifier. I use one at lessons, and I've recorded with it. They're great.
Can a beginner do a guitar setup themselves? No. Do advanced players do their own setups? Sometimes, but often, no. Mass-produced guitars often have production variances; no two will TRULY be the same, right out of the box. They ALL need a setup at sometime, to allow for seasonal temperature and humidity variances, but to also keep the instrument in its best, playable, condition. I always say that although we can do basic adjustments and maintenance, it's best to put your instrument by a qualified professional periodically, especially if you are noticing a different feel from the instrument, dead spots, buzzing in places, or un-playability in general.
If it don't make the page, it won't make the stage.
Have stuff on hand to write down ideas! There are all types; lined ones are nice. In a pinch, even a pizza box will do. Write. That. Idea. Down....
9. A piano or keyboard.
What? Isn't this about guitar stuff?
Yes, that's why I'm bringing up the piano. With some "ivories" around, better (and more) composition, music theory, different sounds, a totally different hand work-out, and maybe (gasp) even more FUN... all come possible, easily. Even the cheapest one is better than none! Don't believe me, read up over at the awesome REVERB.COM site... Then maybe even book a piano lesson with someone I can recommend!
10. The D'Addario/Planet Waves Pro-Winder.
A peg winder, bridge-pin puller, and string cutter.
In low humidity (arid desert climates, anywhere with a "Winter"), wooden instruments can dry out and
shrink; frets can stick out past the edges of the
fingerboard, cracks can develop
in your acoustic's top, bridge and action issues can happen.
Keeping a humidifier inside your
guitar case can prevent these nightmares. Plenty of commerical gizmos are available, but... see the video above for one of several known Do-It-Yourself solutions.
12. Metronome And/Or Drum Loop Device.
It's not even up for debate: Practicing with a rhythm device makes you a better player. Period. I jumped right into things early on, almost immediately, courtesy of a four-track cassette recorder and a metronome; I would record the metronome clicks onto a spare track and use that as my guide while recording onto the other tracks. I wouldn't keep it in the final mix.
Nowadays, there are all manner of metronome apps for the phone, and even more fun, drum machine loop apps for the phone. Get to it: There's no excuse for not practicing with a rhythm device.
If you have a computer and Garageband, you've got drum loops built into your software.
Or, if there's a good drummer at your disposal... that's the best option.
Have fun, and please do not be shy about suggesting items for number thirteen and beyond!
MH
GUITAR AND BASS LESSONS WITH MICK HARGREAVES
LANTERN SOUND RECORDING RIG STUDIO LINE: 631-909-3432
I seek serious students who want to have weekly guitar or bass lessons at their location or at my studio in Manorville, Long Island NY.
I draw from my thirty-plus years of experience performing, touring,
recording, teaching and writing to ensure the guitar and bass lessons I offer feature an
enjoyable balance of technique, theory, rhythm, chord relationships,
scales, melodies, writing, and even singing fundamentals, if desired.
I always encourage students to pick songs they'd like to learn or work
on. I keep it fun and often let the song be a teaching aid for music theory. I help students set goals and progress
as far as they'd like.
- Great references available upon request.
- Refer a new student, get a free lesson.
Guitar and Bass Lesson Policies
Rates: 40 dollars for a half hour, 70 dollars for an hour. If lessons take place at my studio, take $10 off. Schedule: Lessons will be at a regular time each
week unless notice is given in advance that the student is missing a
lesson or is stopping. I reserve the right to remove a student from my schedule in case of excessive cancellations or non-payment.
Holidays: We do not meet for lessons on holidays or during holiday weeks. Cancellations: The
times by which a lesson must be cancelled are as follows:
• For lessons scheduled at 2pm or before - by 5pm the night before.
• For lessons scheduled after 2pm - by 10am the day of the lesson.
• If the lesson is not canceled by that time, the student must pay for the lesson, regardless of the reason for cancellation.
Payment: In cash, at the end of the lesson. Please be sure to have payment ready each week.
Contact Info: I often send out helpful email updates with tips and tricks. Along with parent email and phone number, I request student email and phone number, and any land line phone number at the residence, to keep a database of students who have lessons with me.
LIMITED TIME FREE DOWNLOAD (Enter "0" when prompted for price) includes
the written piece "Crystal Ball - The Story of July 30-31st 2011 and
Beyond" by Mick Hargreaves, in PDF format.
The morning of Saturday July 30th 2011, a demo recording of "Crystal
Ball", a song that Joe Delia, pianist/organist and superb musician
brought me into on a co-write, with the purpose of using the song in a
film he was scoring, was committed to posterity as a simple demo
recording, with Joe playing piano, Mick singing, at Joe's condo in Montauk
NY.
Later that evening, after the debut show of my band "Mick Hargreaves
& The King Guys" at the wonderful Grey Horse Tavern, I became a
victim of a horrible, violent crime that occurred when I was brutally
attacked in the early morning hours of Sunday, July 31st, 2011.
Now, I present a full-band version of "Crystal Ball", recorded with The King Guys, with Joe Delia guesting on organ.
Mick makes a solo acoustic appearance WED JUL 27 6:30pm at the Buzz Bar Summer Concerts On The Pier, hosted by Mariann Megna. Mariann does a short set to open the evening's entertainment. Mick takes the stage at 7pm, and will perform for two hours, until to 9pm.
Curated by Dorene Romero, the exciting Arts Stage at Alive After Five 2016
in Patchogue NY will feature original musical and spoken-word
performers from the Long Island area. The immediate area surrounding the
stage will be filled with area visual artists creating their craft in
real time.
The Arts Stage will be located directly in front of the Suffolk County 6th District Courthouse at 150 W Main St, Patchogue, NY 11772-3003, and will be hosted by Songwriter/Producer Mick Hargreaves, with sound provided by the Lantern Sound Recording Rig. Performances run from 5pm to 9pm.
A release date for a full-blown, Mick Hargreaves and the King Guys rendition of the song "Crystal Ball" (co-written with Joe Delia) is now set for July 30, 2016.
The Lantern Sound Recording Rig has been very busy (most notably with Rob Europe, currently in the mixing stages of his first full-electric release ever). Live performances have started up again, beginning with a solo set at Twin Stills Moonshine Distillery (Riverhead NY) on Saturday June 11 at 2pm. Free. It's a great hang - music and moonshine.
Open Mic Gathering at The Quogue East Pub Every Wednesday at 8pm beginning March 2nd 2016 Resident House Band: GRAND THEFT ALOHA (Mick Hargreaves, Jim Nanos, Alex Sarkis & Mystery Guest) All Styles Welcomed - No Reasonable Request Refused FREE ADMISSION - $3 Beer - $4 Shots Signups at 7:30pm
"The Invitational, Inspirational, Lowest Common Denominational" OMG @ QEP.
Last "Live on The Farm" show of the season, and last house concert here until April 2016!
The ninth installment of our monthly series, and our last for 2015,
recorded live for video and audio at the Lantern Sound Recording Rig with JTiL Productions, features acoustic wizard Robert Bruey, plus special guests that will include Whaleheart, and DJ JTiL in the Solid State Lounge. This one will go late.
We are located in the Central Long Island Pine Barrens. RSVP to Mick Hargreaves via
all the usual Social media avenues, email (mick_hargreaves at yahoo
dot com) to get details and location, or call the Lantern Sound Recording Rig at our new landline:
(631) 909-3432
Beverages, snacks. $15 suggested donation goes to the artists. Bringing a dish to pass and BYOB are AOK.
Robert Bruey - Featured Performer
Singer-songwriter and fingerstyle guitarist Robert Bruey grew up in
rural New England and lives on Long Island’s North Fork. His roots and
how they have helped to shape him are reflected in the original music on
his recently released CD, 'Carousel', and are even more evident during a
live performance. Robert Bruey’s music is honest and real, raw and
meaningful, gritty and naturalistic. His deft, spare and unique
finger-picking style -- with notes carefully left alone to be heard in
the moment -- provides a perfect complement for his earthy and soulful
voice and the meaningful, introspective lyrics of his songs. As a
musical artist, he paints with words -- imbuing his songs with imagery
that enables listeners to visualize his stories as he sings
them.Although he cites such diverse artists as Dave Matthews, Van
Morrison, Waylon Jennings, Jackson Browne and Damien Rice as influences,
Robert Bruey is his own muse blazing his own musical path – one that
should lead him into listening rooms and living rooms far and wide.
Mick Hargreaves - Opener and Host "The songs of Mick Hargreaves can be easily pigeonholed as
"Americana", but that would do a grave injustice to the breadth of
styles his tunes encompass. Having fronted many different outfits over
the years, Mick's songs manage to contain a little slice of each of the
roads he's traveled. A little classic twang here, some Early 80's
college rock flavor there, but always tied together with strong pop
hooks and melodies. It's hard not to compare him to another musical
jack-of-all-trades in the legendary songwriter/producer Nick Lowe, as
Mick also happens to be known for slinging a 4 string electric bass in
addition to pickin' the six string. A veteran of the business, Mr.
Hargreaves has cracked the code of what it takes to create some
seriously infectious American pop/rock." - Bryan Gallo
At the end of 2014, Mick's Lantern Sound Recording Rig (LSRR) took up
residence in a sprawling 1920's farmhouse in the pine barrens of Long
Island NY, where he now records, rehearses, and holds house concerts. Many area acts have now made their records at this location, which has quickly become "The Route of the Relaxed Recording Artist".
Whaleheart - Late Set
Whaleheart adhere to a self-administered regimen of "Beer, Beards, and Bowie" and are finishing up a 4-song EP at the LSRR. They will perform a smokey late-night set.
DJ JTiL - Spinning after-hours in the Solid State Lounge Originally from Eastern Long Island, "JTiL" (Jody Gambino) is a visual artist, filmmaker and jewelry designer. After living in Savannah, Georgia during the height of the electronic era and dub step movement, J TiL traveled back to his home state of New York to introduce a wide range of music to those willing to listen. Inspired by J Dilla, Madlib and Flying Lotus, JTiL can be heard spinning musical genres including (but as not limited to) Electronic, Hip-Hop, Trip-Hop, Glitch-Hop, Jazz Hip-Hop, Soul, Funk, Trap, Bounce,Reggae, Chill Wave and anything else considered Bass Music. JTiL is also known to include samples of classic rock and indie rock in his mixes.
We are located in the Central Long Island Pine Barrens. RSVP to Mick Hargreaves via
all the usual Social media avenues, email (mick_hargreaves at yahoo
dot com) to get details and location, or call the Lantern Sound Recording Rig at our new landline:
(631) 909-3432
Beverages, snacks. $15 suggested donation goes to the artists. Bringing a dish to pass and BYOB are AOK.
Buddy Merriam & Back Roads A 2015 Long Island Music Hall of Fame inductee, Buddy Merriam has
brought Back Roads down to the Grand Ole Opry in Nashville to perform a
few times. They've also performed at the Grand Opening of the BLUEGRASS
MUSEUM AND HALL OF FAME and Country Music's Fan Fair in Nashville, TN.
The group has played at most of the Northeast Bluegrass Festivals
(including Grey Fox &Podunk) and at Long Island venues like Hecksher
Park in Huntington, Bald Hill Cultural Center, Agawam Park in
Southampton, and concerts for LITMA, Huntington Folk Music Society and
the Museums at Stony Brook Folk & Fiddle Festival. He hosts the popular weekly Blue Grass Time radio show on WUSB 90.1 FM in Stony Brook, NY. since 1991. www.wusb.fm for live streaming. all shows are archived for one month.
The Brooklyn Bluegrass Collective aims to capture the
best of talent and spirit that resides in the roots music community of
Brooklyn, New York. Zack Bruce and Jason Borisoff formed the Collective
in the fall of 2014 as a way to record and showcase the expanse of
musicianship and style that defines the diverse bluegrass community of
Brooklyn. As two musicians working in the scene themselves, Zack and
Jason saw a void that needed to be filled by a centrally organized,
comprehensive, and musically rigorous cooperative, which would strive to
catalog the dynamic sound of Brooklyn bluegrass. Remember your best
brunch gig, your best late-night jam in a living room, your best
afternoon busking in the park: that’s what we want people to hear.
The
seventh installment of our monthly series,
recorded live for video and audio at the Lantern Sound Recording Rig with JTiL Productions, features the science/nightmare pop of
Ludlow ejacula (Broolyn NY) and the rootsy alt-rock of Chris Connolly (Long Island, NY). We are located in the Central Long Island Pine Barrens. RSVP to Mick via
all the usual Social media avenues, or email (mick_hargreaves at yahoo
dot com) to get details and location. Beverages, snacks. $15 suggested donation goes to the artists. Bring a dish to pass, BYOB AOK.
Inspired by both early American roots
music and modern alt-rock, Chris grew to craft his own unique style of
writing and phrasing that moves between sublime, evolving and hook based
melodies.
