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Hello Kenneth, I was preparing to send you the polite and perfunctory thank you message for your kind review of "Space In Time". However before I got to that I went on your page and listened to a few of your works. Oh my. You are a serious talent. I especially enjoyed Clarinet Quintet and House on Gable Island. Your compositions are on par with one of my favorite composers, Leonard Bernstein. Let me just say that when a composer of your caliber says that something I wrote is good, well then...... okay. Thank you for the stunning review I'm flattered that you enjoyed it. ............. kenney
Ok, well, wow! Thank YOU. The world lost a great talent when he died. The 'MASS' is on of my 10 works to take to a desert island pieces. Is that a Picasso on your wall?
Yes, that's "The Old Guitarist" from Picasso's Blue Period
Just so you all know...I wrote Broadjam about the rude, immature, idiotism lover that Ben had trouble with and if you are getting problems with him, we both reccommend to block him. Simply write them on Broadjam and they can block the idiot even further. He was speaking very cruelly to my friends so I got rid of him and pray he gets help for the obvious drug problems he has. Peace and blessings to all!
Mr. Whamond -- I listened to this guys music on his Broadjam page...you have nothing to be concerned about.
Kenneth, Thank you kindly for taking some time to review my track "November Gray". Some confusion on your "too loud" comment on my mastering....I hear NO distortion, harmonic or otherwise....did you maybe have the treble/bass signals boosted? If you did, my music will ALWAYS inherently distort as my mastering is on the cusp of negligent but still remains constant. I would like to hear your detailed thoughts on that track as it is my most prized of all classical pieces. Thanks again, ~W
I have a pair of KRK 8's and listen in a 'fairly' neutral acoustic studio. (1) What I was hearing (and I should have been more detailed) was what sounded like you used a great amount of compression. This used to be a normal mode of mastering a few years ago (the concept of louder is always better!) And that may work for hip-hop or dance music but definitely NOT for classical music. In other words very little dynamic range. I come from an acoustic background and I dislike classical music that has compressed like producers do for FM broadcasts. I had rather strain to hear the soft parts rather than be blasted by a piece that runs FFF throughout the entire piece. (2) The strings (mainly) cut off abruptly with no reverb and that lends the instrument to sound very 'MIDI'. Sorry, I get that criticism about my music very often. There are very many good hall simulation FX you can get and I think they would help immeasurably. Whatever DAW you use probably has one built in. If you apply it to individual tracks if gives them more body. Applied to the entire piece at mastering makes the piece sound as if it were played in a real auditorium not coming out of a computer. In no way does this lessen the quality of your composition! It is a well-composed piece and I liked it a lot! One more thought, listen to examples of recordings of real orchestras and try to make your tracks sound like the real thing as much as possible. And buy the best samples you can afford. Happy composing, Ken
Ken, Thank you VERY much for the details, I take your comments VERY seriously and often experiment with the sounds or with the suggestions. If I never did this, I would be robbing myself of education which is invaluable for musicians. Please know I appreciate your time. Best~W
Sorry to bust in on this thread but i enjoyed Ken's comments very much as well .
Thanks, Steve, and I must say I really enjoy your tunes; your mixes are awesome!
Thanks for the recent review! I am truly gratified that you gave me such a favorable review. I am here in Colorado, also. Again, thanks. Ken
It was my pleasure Kennith, I enjoyed your piece.
Hi Kenneth, I have heard one of your serenade tracks and I really loved it. I have also read that you composed it in three days and I was really impressed. Well done! I also work with very strict deadlines, but I would not make such a great track in just three days!, congratulations!
Yeah, it seems to be a gift and a curse. These things spring almost fully realized in my head however, I can't usually deviate from what's in my head. Say, on another subject, have you heard anything about the scam alert about Broadjam? Read this: http://www.scamchecker.com/content/roy-elkins-broadjamcom-broadjamcom-steals-your-money-and-dreams 1
Hi Kenneth, Thanks for the link, it seems quite interesting, although I have not read all of it yet. Will wou let me read it and I will get back to you shortly. Sincerely, Stelios
Hi Kennneth, That was quite shocking indeed I am not sure what to believe and what not, but speaking honestly, I cannot say that I have a personal success here that proves the opposite of what I have read there. Do you? On the other hand, this does not mean that these reports are true One thing is for sure though. If I will not get an opportunity success soon, I will not refresh my membership. Maybe i am not good enough, maybe it's the providers, maybe it is broadjam, i do not know. But definately, there are a lot of maybes that will prevent me from renewing my membership. I was registered here through a promotional code anyway. What I personally have to report is that during the course of an opportunity (ID: FT12AK01), I logged in to check the its status after the expiration of the decision deadline and there was no report at all. The provider had not logged in yet. Half an hour later, I receive a notification that the status of the opportunity had changed, so I logged in again to check what is going on...the provider had listened to all of the tracks and decided that none of them was suitable., so the question goes: did the provider listened to 92 tracks in 30 minutes??? I do not think so. Maybe this fact does not have to do with broadjam, maybe it has to do with the provider. Maybe he choose a track from another site. Hence another question rises: if he choose from another site, why did not s/he informed us? The answer is obvious- because we could claim our money back. Hence since providers most probably earn an amount from the fees of the submission system (not sure about that though), then there is no reason at all not to take this money. So why not listening to every track for some seconds just to inform the submission statistics and take this money? However, I have a disturbing impression that somehow providers are always protected. They post here anonymously they remain anonymous after the expiration of the decision deadline, they do not reveal the projects concerning the opportunities etc. Okay, I really understand the issue of confidentiality in these kind of business, but at the end of the day, musicians are the only ones left unprotected, right? This thing really annoys me. Furthermore, I cannot see why at the end of the selection process we are not revealed the name of the project, or generally what was this all about? We do get ads about Liscencing successes, but they are very general. I would feel way more comfortable if we could have at least the name of the show, film, ad etc for every opportunity once the selection process is done. What do you think about that? Sincerely, Stelios
Thank you for your recent review. I appreciate your time and value your opinion. Ken LaVone
Thanks very much for the kind review of "Ulitka." You asked where we found that combination... the answer is, literally, Siberia. :-)
Cool! ...or, eh, Cold!
Thanks, Frank. Stumble on in any time! Ken
Thanks for the generous review of "Windy Road" At the moment I am saving for the Hollywood Strings/Brass libraries... but on a student budget they aren't cheap!
Phil There are at lease 3 good string libraries I know of. I use the EastWest Symph. Set, there is the Vienna Set (very expensive but on sale at times and you can get sub sets and build up a library), and Michael Horsphol (you should listen to his stuff here on BJ) recommends LA Scoring Strings. If you are a student, you can get discounts. Just thought I would pass this along. Happy music making! Ken
I also use EastWest Symphony orchestra... the hollywood strings is the upgrade, as is hollywood brass.
Scott--Per your review you asked about quantizing. Actually, I had to go back and look at the piece before I could remember. There was only a bit of quantizing and editing done because, as the piece name indicates, it is played only using black keys on the piano. It is quite a bit more difficult to play than it sounds--or, I am not as good a pianist as I used to be!--Thanks, anyway.---Ken
Hi Kenneth - thanks for the response - i was quite impressed with your piece, which also stirred my curiosity. Didn't know it was all black keys (no title available during review)... which makes it that much more of a winner! Sincerely, Scott
Enjoyed your Christmas fantasy Kenneth. I'd be interested to know what kit you use to record?
Paul, For Christmas Fantasy I mostly used EastWest Symphonic Orchestra 64-bit and Omnisphere and a few Kontakt instruments for the effects. All done in MIDI, mastered in Adobe Audition. --Glad you liked it! Ken
Thank you, Kenneth, for the review of "The Last of the Wine." I had not realized that the track was so full of static. Unfortunately my colleague and friend the artist has died and I don't know how to rescue his lovely music. Listen to "My Waking Dream" sometime, it's one of the songs on my list. It's worth your time.
You can 'rescue' by using Adobe's Audition or Soundbooth and go to Noise Reduction/Restoration and use one of the filters. Works pretty good. And there are other programs that will also denoise recordings.
How thoughtful of you. I will take your advice, gratefully.
Steve -- Thanks for the recent review. Really appreciate the listen. --Ken
No problem. Keep it up!
Thanks for the recent review of my 'Ten Kings'. Appreciate the listen. Ken
Ken Your welcome. I do hope I did it justice.
Brad, I'm glad you commented on my review. My music has been accused of sounding MIDI-like, also and I use East West Symphonic Orchestra Play. It is on par with the Vienna Sound Samples. I think I have an insight. In your piece the cello part never deviated in velocity or volumn. Velocity and Volumn may sound the same but they have different MIDI functions. No REAL cello section EVER plays with the same exact attack, release, and decay to use MIDI terms. These can be varied in your sequencer depending on which one you use. Adding a chorus effect can also help. Chorusing adds slight imperfections to make the section sound like it is played by different players. All these effects can be manipulated to make the sound more realistic. And there is also reverb. I think that is what I was hearing in your, otherwise, very well-written piece. I know how all of these work, but I still have not mastered their use. Good luck, Ken
Thank you for your recent review. I am humbled and gratified. --Ken
Thanks for the review; however, this music was supposed to NOT go anywhere and stay in the background; it is music for a film. Ken
Hello Kenneth, I was searching randomly for information on a dear friend, and teacher of mine Teresa Garbulinska, and I was led to your page. Interestingly, we have corresponded with one another before. I just wanted to say hello, and keep in touch. Please let me know what you know of Teresa, she is a dear friend and it is such a rare moment to find others who know of her. Thanks, John
In the word of Donovan: Little pebble upon the sand Now you're lying here in my hand, How many years have you been here ? Little human upon the sand >From where I'm lying here in your hand, You to me are but a passing breeze. The sun will always shine where you stand Depending in which land You may find yourself. Now you have my blessing, go your way. Happiness runs in a circular motion Thought is like a little boat upon the sea. Everybody is a part of everything anyway, You can have everything if you let yourself be. Happiness runs, happiness runs. Happiness runs in a circular motion Ken
Congrats on your accomplishments. Are you familiar what the Rowley family in Prescott? Mr. Rowley taught shop for many years at Prescott High. Daughter named Nancy.
Thanks for the superlative review. I don't think your music is so 'amateurish'. Sounds good to me. Reach out and do some more experimenting. Ken
Thank you, John, for the review of Dark City. I have never received all 5's before. I am humbled and appreciative. Ken
You deserve it. It is a wonderful piece, very expressive, and visual. It should be in a film. It ranks up there with quality worthy of any film. Keep up the good work. Take care, John
Kenneth, Thanks for your review of "El Misterio de Madrid". Very helpful. Yes, better samples would be nice. I'm shopping. Recommendations are appreciated. Anything under the realm of ProTools LE, Reason, and Native Instruments would probably fit my gear and budget. I've been listening to your excellent work. You are a truly talented musician, and I look forward to studying and enjoying your creations. All the best, Yuri
Yuri Most people I have asked say the Vienna Symphonic Library is the best and most expensive!! I use EastWest 24 bit. Their prices vary from $200 (Silver Edition) to $900 (Platinum). With Vienna you can buy pieces of the library (like just Woodwinds or Brass) without laying out the whole wad at one time. NI Kontakt (full version) uses a subset of vienna for their orchestral sounds. It is affordable and may be a good place to start. Hope this helps. Ken
You've confirmed my findings and favorite choices. Thanks!
Greetings Kenneth I appreciate your review of my piece "Trudi" for solo piano. At first I was a bit defensive but then after listening to the song again, I see what you mean. A little too much reverb on the piano. Mastering engineer on that one, and a little heavy on the pedal, my fault. I appreciate your honest review, and hope you will give my other works a listen from time to time. I have listened to some of your pieces, and like them very much. I reviewed your 'Broken Piano" and liked it very much. Thanks again. Take care, John
I did like your piece, musically. Really! I have a Master's Degree in Piano, studied with a pupil of Artur Schnabel and have performed Beethoven Sonatas in public. NOT patting my own back, but from THAT point of view, consider the review. I did like it; I just thought it could be better! KEn
Ken, Thanks for your reply. You gave an honest review, and I find that sort of thing priceless, especially when it comes from someone who knows their craft. Music is sometimes such a personal thing, that there is a tendency to get defensive at the slightest criticism, but honest criticism is such a valuable tool when it comes from the right place, as yours does. I respect your background, and know it is not patting your own back. Nothing wrong with letting others know what you do. One of my teachers was Teresa Garbulinska, and was a student of Artur Rubenstein, and Kruchev's private pianist for ten years. I have had music featured in the movie Vanilla Sky, and I am not afraid to talk about it a little. I earned it. Not patting myself on the back here either, just stating things as they are. Again, Ken, I thank you for your review. It helps me become a better musician when I get feedback from other musicians like yourself. Keep up the good work, and keep in touch. Thanks, John
Cool! I saw Rubinstein perform in person. Guy with small hands; he was amazing! I just installed Alicia Keys Piano (Kontakt version). Sounds terrific. If you like, I would be willing to run your piece 'Trudi' through it and get an audio sound file and convert it to MP3 @192. Should be small enough to email back. That is, if you have a MIDI version available and would like me to do it. I am going to remaster my Sonata with this synth. I'll have to use the original MIDI also because I can't play the d@#$ thing now! Let it get cold. Don't know Teresa Garbulinska and if you had music used in Vanilla Sky, you definitely earned bragging rights! We should definitely stay in touch and share new music when we get around to posting it. Ken
Ken, Good hearing back from you. I don't have a midi version of Trudi, I played that piece on a Bluthner grand that was given to me by Trudi Straus, the namesake of the piece, but I could probably play it into a midi file sometime, once I get a few other things lined out. I do appreciate the offer though. I would love to hear a remaster of your sonata. I recorded Trudi, and a number of other pieces on my album Conversing With A Rainy Night about ten or so years ago, and don't play them much as I have kids, life etc to keep me busy. Please stay in touch, and good luck with all you do. You have a good thing going. John
Thank you for your recent reviews--I love your imagery! Ken
It is my pleasure Kenneth. Thank you.
Just listened to your Orchestral Piece. Very well written. You have a good grasp of orchestraion and scoring. Well done.
Timothy How is the CU music department? Your opinion. I live just north of Boulder and have always wanted to check out the music there. Ken
Hi Ken, There's some good stuff going on at CU now with Dan Kellogg and Carter Pann there. Also Leigh Holman is running the opera dept and doing a fantastic job. Definitely worth checking out at some point. Tim
niccee
Don't quite understand. The piece you reviewed has no added reverb at all except for the tail that is built in to a single patch. It has a single theme well-defined too short for any development & it is part of a 5 piece suite.
Hi Kenneth! You posted this comment a year ago, and I apologize for not getting back to you, but I signed off of broad jam for a while, and just recently started signing back on and saw your comment, so I thought I'd post a reply. I re listened to your piece called "the Minoans of Crete (From Aegean Suite)" and, at least from the standpoint of reverb, I have to maintain my original comment. Even though its only one patch that has the long tail, that tail doesn't sound like natural orchestral reverb. Listen to the nature of the reverb tail at the 23 second mark, and the 47 second mark. it sounds unnatural and processed. Maybe it's just me, but when I hear a composer scoring for orchestra, I think for the sake of acheiving the proper balance for mixing classic orchestral music, long reverb/delays, especially ones that have almost a chorusing affect like this one does are counter productive. I thinks its good music, and I'd love to hear it sounding a bit more authentically orchestral. Even though its the reverb tail of only one patch, that one patch's tail really stands out. If that's the sound you were after, then I can respect that, but I think your piece could come across even better without it. As for my critique of the development, please keep in mind that we review music without knowing the context (a limitation of broad jam). When I hear it in the context of your whole suite, I can see what you're saying, but there's no way to know that during the review process. Perhaps in the future I'll qualify such statements when reviewing music in the classical section. Anyway, Good luck with your endeavors!!
I was right! That was a Kenneth Lavone piece I just reviewed. I think I've got your style down pat Ken. Nice piece, as always, keep em' coming.
Now, I am on a quest. I MUST compose a piece in a style that you will not recognize. Maybe a good tango or Thrash Metal piece.
Hi Kenneth, enjoyed Sonata in G. Very Philip Glass.
Thank you,--I am not sure I even like the piece. I keep listening to it and thinking of how it needs to be edited but cannot figure out exactly what I need to do. I do appreciate the comment, however.
Thanks for the review - but this ain't weird! This is my romantic stuff--ha. I see you live in Denver. I have a home just up the hill in Black Hawk. Thx again. -Ken