Mick Hargreaves is a singer-songwriter, instrumentalist, producer, engineer, and proprietor of the Lantern Sound Recording Rig • @mickhargreaves • https://itunes.apple.com/us/album/best/id641760944
WEHM radio, serving the local Suffolk County NY community on two FM broadcast signals, 92.9 and 96.9, as well as its worldwide audience via its Internet stream at WEHM.com, hosts a "Virtual Concert for Care Givers" on Friday MAY 22, 2020.
My livestream test run today, which was really an actual private happy hour showcase for a bunch of nice folks in and around our nation's capitol, went very very well.
Google Hangs was the app used. The sound (laptop mic) was apparently good on the other end. The picture on my end lagged a bit, probably a function of my WiFi setup here, but no picture complaints from the audience. There will be more, and they'll be public.
Everything is super effing weird for everyone right now, but for a little while, things were a little less weird for me. It was very emotional for me afterwards.
The two-way sound/picture enabled audience feedback, and boy howdy, do I miss the heck out of THAT give and take.
Today was a reminder to me: That relationship is one of the most important things in the world to me. Without an audience, we performers don't got nuthin'.
These screen grabs were sent by the host, and they know who they are. MWAH XO
I took this photo last night after cutting vocals for a new Mick Hargreaves & The King Guys single release.
Part of me feels like making music now constitutes fiddling while Rome burns, or maybe doing a gig on the deck of the Titanic.
Then I remember that I was in the ocean the morning of 9/11. Surfing. To this day every time I get in the water (which is far too infrequent) I remember that some surfers didn't live to see September 12th. And I paddle out for them.
So one big reason I will continue to make music until I can't any more is that I'm thinking of the musicians who aren't with us any more.
I've learned so much from them.
We carry those lessons forward, for them.
My new song is called "See What You Can Make With This". Pete Mancini (Diversion Records) does some great electric guitar work on this one, and my longtime buddy Chris Mehos is on drums.
Recording a hi-strung Martin acoustic guitar part.
I've set up shop upstairs in George Howard's RetroSound on the third floor at the LSRR (Lantern Sound Recording Rig), and work on my next solo release has resumed! George's loft is a ProTools room centered around a Soundcraft 24x8x2 console, but I've also got a Mac/Logic DAW routed to/from the console.
I can do some of my solo overdub sessions up there, and keep my mess away from artists using the Lantern Sound Recording Rig on the first floor here.
It's time for the pear tree to bear some fruit. My last show for a while will be on the ARTS STAGE at the Alive After Five (AA5) Street Festival in Patchogue, NY. Other performers that night are the musical Veterans from the Project 9 Line, and the Acoustic Electrix, PLUS poets Donnie Lamon and George Wallace.
I was brutally attacked in an early morning ambush after a gig six years ago today, to the day, July 31, 2011. Considering how bad that was, it's STILL amazing that I'm alive. It probably always will be, I figure.
Since then, in my "comeback period", I've been working really hard focusing on building up the Lantern Sound Recording Rig (LSRR) into a viable, working recording situation, where artists can come and feel 10 times more comfortable and relaxed than any other option they might choose in this area, with me at the helm, obsessing over the goal of making an artist happy. We liken working here to making a record inside an Edward Hopper house that's depicted in a Norman Rockwell painting.
It's working. We have about six records in here that are being worked on simultaneously, by last count. One of them, the one that is at the bottom of the list, is mine. All others get worked on first, before mine. Artist first. Always.
So, in order really knuckle down and clobber away at this exciting load of work, including pushing my record over the finish line, I'm curtailing my own gigs for the time being, at least until this record is done, and I can assemble a band to support it. (Beards will be fine. No mercenaries though; and nearly everyone is a mercenary these days... so we'll see.) Things are so busy, I'll probably have to adopt a "touring" mindset, one where there will be a bunch of MH shows regionally over a finite period of time, after which I will get back into the studio to focus on that work.
Again, here at the LSRR, it's artist first, so I've got to keep the decks clear for that.
You'll be able to stop by and say hello every remaining Thursday this summer, as the LSRR does the sound and staging for the Arts Stage (directed by Dorene Rose) at every AA5 and Alive On 25 (AO25 - Riverhead) festival date right up to August 31st. Plus, you'll see me with the bass on too, performing with artists such as Rob Europe and Bryan Gallo.
For today ONLY, my recording of the song "Crystal Ball" (co-written with Joe Delia) is being brought back as a free download over at Bandcamp. It comes with the story of what happened July 30-31 2011, as a PDF file. Click through here for FREE download options, and we'll see you around campus.
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.
