It’s My Party

The Confetti Clatter – June 2020

Posted on by John Giotto

2020 performance season update

Following a successful 2019 performance season was a hard act to follow this year. I did not hear back from numerous venues from last year regarding this year for whatever reason. There was the golden anniversary for Marge’s Lakeside performance talked about two years ago that never materialized. And Joan from Lyons, NY decided to retire, passing the baton to someone unfamiliar with the group. Everything felt a bit off right from the getgo. And then things came to a screeching halt in February, which is usually the time the last-minute shows materialize.  When all was said and done, we ended up with a half-dozen events, three of which event organizers have subsequently cancelled. Although I do not possess a crystal ball, I predict that we will play live for you this summer. Alternative ideas are in the works, and more details will follow. Please refer to our events section for cancellations and possible additions.

Group history – 1986

I will go on record as admitting that I have a sweet spot for nostalgia. With uncanny foresight, I know what to save and what to chuck. Most rational people would throw everything out. However, if, for any reason, I feel an artifact chronicles my life, I keep it for future reference. The problem is my organization of said artifacts leads something to be desired. While digging around in the garage loft — for something else of course — I stumbled upon a motherload of group artifacts: photos, recordings, flyers, banners, posters, setlists, and yearly calendars.

It was one of the yearly calendars from 1986 that will form the basis of this article. Let me begin by telling you that these calendars were incredibly detailed, much to the delight of my 2020 eyes! They record performance dates, some of which document the fee we agreed to, practice days, when band members came and left, sometimes with the reason, and vacation times for specific bandmates. I will use the term band for It’s My Party at this stage. To my way of thinking, a band is a self-contained entity, with the same performers at every show, think the Beatles. A group is a vocal ensemble backed by varying musicians from show to show. For our history, we were a band from 1985 through 1988, and then again from the early ’90s through 2003. 2004 started our group era with more complex and elaborate orchestration by various musicians. 

1986 saw three incarnations of the band. January 1 through May 4 was the original band, June 30 through August 4 was a short-lived second formation, and October 23 to the end of the year marked the beginning of the third iteration of It’s My Party, the beginning of the Paul Kanack Era.

Without going into too much detail, the original band performed seven times in 1986, once at Shnozz’s, three times at the Casablanca, twice at Red Creek, and once at the Island Cottage. All of these venues are now defunct. My memory must be slipping because I had no idea the original band played at Shnozz’s, or Red Creek more than once. I do not remember the third show at Casablanca on May 3, which turned out to be the last for the original It’s My Party. The following day Gary Skinner, Dave Carroll, and Liz Collins departed.

Liz, Sonia & Sharon perform at Red Creek on April 19, 1986. The building is now a MacGregor’s

On June 30, we put the band back together. I give Jim Basile, our bassist, and Sharon and Sonia, our remaining singers, all kinds of credit for sticking it out, the original band had incredible esprit de corps. It took a lot of fortitude to persevere. Without those members sticktoitiveness, It’s My Party would have folded. Vocalist Kelly Donovan and Guitarists Ken Peters and Larry Goss joined Sharon, Sonia, Jim, and me on that final day of June in 1986. We were ready to embark on a new adventure.

Just a quick background on Ken and Kelly, Ken was a fan and follower of the group. He would always approach the stage at the end of the show and thank us. One time he mentioned that he played bass as his primary instrument, but that he also played guitar, and that if we ever needed one or the other in the band to look him up. So, sure enough, I did, and Ken was thrilled to join us. Ken brought a degree of enthusiasm and original material that he had crafted through the years. He was also an advocate of Brodesser Guitars, custom-built guitars and basses by Ryan Brodesser in nearby Brockport, NY.

Kelly was known to me from the girl group Girl Talk, an act that also included Liz Collins at one time before Liz moved on to Transistor Sister. After talking it over with her husband, Kelly joined the group. Kelly brought a sense of theater and professionalism that were not a part of the original band. The original It’s My Party ran on pure adrenaline, spontaneity, and talent, with fun being the prime objective. 

Larry Goss

Larry is doubling on maracas at the MDC performance during the song, “I Want Candy.”

Larry Goss, to my knowledge, had never been in a band before, nor do I think he had performed live. Larry is someone I have stayed in touch with through these years, just a great guy, and he still follows IMP. Larry and I go way back to the days of the band Montage. I played drums in Montage beginning in 1974, and Larry, being from East Penfield and knowing some of the band members, started following us. Larry was also a fan of my band Tempest in the late ’70s. Larry most likely also followed It’s My Party, as he was a big fan of Dave Carroll’s guitar playing. Dave also played in Montage and Tempest before It’s My Party. Larry cites Dave Carroll and Bud Covert, a Penfield guitar legend, as two of his early inspirations. Since Larry is a humble guy, I think that I approached him to join the group, and I am so glad I did! I must have been pretty convincing because Larry was getting married just six days later on July 6 and honeymooned through July 20, leaving only six days after his return before our first performance.

Version two of It’ My Party performed twice. The first show was on July 26 at 2 PM at Panorama Plaza off Penfield Road under a festival-style tent. I remember it set up somewhere near where the AutoZone now stands. Then on August 3 from 1 to 5 PM, we played at the Monroe Developmental Center on Westfall Road in Rochester. Sharon worked at MDC and arranged the gig for us. I remember it being a successful show all the way around with organizers, band members, and attendees, albeit a hot and humid August afternoon with a few sprinkles.

Monroe Development Center Performance August 3, 1986

Monroe Development Center Performance, August 3, 1986. From L-R Ken, John, Kelly, Sonia, Jim, Sharon & Larry

Sadly as quickly as IMP 2.0 came together, it split up. On August 4, the day after the MDC gig, Larry moved out-of-state while Sharon, Sonia, and Jim decided to depart. I remember speaking with Sharon at our practice facility that day, we had gone through a lot over the past year, and I was upset by her departure.

Now I practically stood alone, for the first time since the idea for this band hatched with then Lakeshore Record Exchange owner, Ron Stein back in 1984.  Fortunately, Ken Peters and Kelly Donovan decided to stick with the band, and again, without there support and belief, I don’t think I would have pursued another attempt at reforming the project. I should also note the Ron Stein was still supportive and, at this point, took on a more active, managerial role. It’s astonishing that when you need people most, they are there for you.

On October 23, singers Patty Angie and Charlene Scarpula joined the band. I remember Patty being at our Island Cottage show on May 5. She approached me, much like Ken, and said that if I ever needed a singer, she was interested. She also confidently stated that she could bring a different twist to the band. Previously, Patty had acted in one of the Frank LaLoggia directed movies filmed locally. Answering an advertisement in the Freetime Magazine, our one-time local entertainment staple, Charlene impressed with a strong audition. 

Now we needed to round out the instrumental ensemble, again relying on Freetime Magazine we placed an ad for a keyboardist and bassist. Terry Farrow, having just been a part of the pit orchestra for the play Pippin, answered our ad and convinced the bass player in that show, Paul Kanack, to tag along to the audition. We immediately got a good vibe from Terry, a gregarious guy. And although Paul was somewhat reserved, his talent was undeniable. Terry and Paul joined the group on November 11 of 1986.

IMP 3.0

IMP 3.0 From L-R Charlene, Terry, Patti, Ken, Kelly

Although the new incarnation of the band did not perform in 1986, I will pick up their history with details from the 1987 calendar. I hope you enjoyed this look back at our history. Please leave a comment or question, and I will follow up with a reply.

 

The Confetti Clatter – April 2020 Newsletter

Posted on by John Giotto

IT’S MY PARTY! Performance at Media Play

We had a ton of good feedback from our last post, People seemed to dig the Short’s performance from 1988, and some were asking me to look for more vintage performances. So, I searched here and there. Much to my surprise, I found a mother-load of audio and video of the group from yesteryear. The media included cassette tapes (two and four-track), VHS tapes, 8mm, DVD and MiniDV. Fortunately, I found a player for each type of media. I was ready to start watching and listening!

My next step was purchasing some type of interface so that I could transfer these performances to files on my computer. I went online and noticed that BestBuy had Roxio VHS to DVD on sale, so I picked up a copy, loaded it on my desktop, and with some old 8mms in hand, I was ready to start transferring. And then it all broke down, my 8mm playback and record camera made weird noises, so I popped open the door to find it had eaten my tape – no! I removed the cassette and carefully rewound it by hand. Only the first 10 seconds were damaged, but still. I courageously tried another tape from our April 4, 1999 performance at Border’s Books, the performance I had intended to use as the source for a new video. It played okay for a while, and then the audio became distorted. That was the end of the experiment, for now.

So, pressed with something to go along with our 35th-year theme, I decided to use an already available performance from our YouTube page. This performance is a song from our February 21, 1999 engagement at Media Play. Yes, that right, a media store. You bought physical copies of music, movies, and books at Media Play. I believe Rochester had two or three outlets at one time. This show took place at the Greece store. 

The song here is a cover of The Shangi-las, “Give Him a Great Big Kiss.” Cara Rhain and Vanessa do a fantastic job interpreting this one, no small feat as the Shangri-Las a virtually untouchable. They were one of the “tough” girl groups, famous for their death records like “I Can Never Go Home Anymore.” Mary Weiss, the lead singer on the original recording, is affectionately known as “the queen of Queens.” Mary was only 15 years old when she recorded, “Leader of the Pack.”

First, watch our 1999 live version of “Give Him a Great Big Kiss.” Cara takes the lead vocal on this one. Musicians of note here are Bill Eberts on bongos, and his brother Brian Eberts on bass. Andy Pawik is on keyboards, a great guy, and incredible talent. Also, Dean Keller on tenor saxophone. After 21 years, Dean continues to perform with It’s My Party, and it’s great to see him here helping to make this tune sound so good. We thought so much of the girls’ performance of this one that we included it on our 2000 CD Can I Get To Know You Better?

Now to watch the Shangri-las from their performance of the song on Shindig from 1964. I’m sure you will see how much the Shangri-las and the Shindig band influence us. As for Mary Weiss’ performance here, talk about attitude!

On an aside, I wanted to mention that we had set up right in front of a giant Britney Spears display. BMG had just released Baby one More Time, her debut record, in January of that year, and it was selling like hotcakes. This spot on the floor was the only area that would accommodate our large band footprint. Looking back, I remember questioning if this was a good idea. After all, some folks may get upset that they would have to wait until we finished the set before they could snag a Britney album. Well, we start the performance, and though it did not happen during this tune, some guy walked right through us while we were playing to grab a CD, unbelievable.

The Confetti Clatter – March 2020 Newsletter

Posted on by John Giotto

 Video Look-back

In this month’s edition of the Confetti Clatter, we will continue with our 35th-anniversary theme and look back at the earliest known video of an It’s My Party performance.

In 1987, Jim Morrow became a fan of the group. Jim, at that time, was a property manager who had connections throughout Monroe County. Jim would eventually hire us at the Panorama Outlet Mall in Penfield (now Tops Supermarket) and opened up an opportunity for us to perform at the Penfield Community Center in June of 1988, through his contacts with the Penfield Recreation Department and Lions Club.

An early adapter, Jim always seemed to have a video recorder present at our performances. We owe him a debt of gratitude for preserving some of our early history, including the following clip from a performance at Short’s Bar in Fairport, NY, which took place on Saturday, February 27, 1988.

If you have seen up perform recently, you will need some context regarding the group in the mid to late 1980s. Whereas we currently focus on the girl groups of the ’60s, back then, we also performed music from current girl groups that had the trappings of those older sixties recordings. Something that we are not averse to trying again.

The clip we are sharing today is one of the earliest video recordings of the group. It shows the opening of a set, most likely not the first set, as Jennie announces that we are about to perform a song again. The response from the “peanut gallery” shows how obnoxious a bar crowd can be at times. In truth, we weren’t cut out to be a bar band.

The lineup in the clip is from left-to-right: Charlene, Tricia, and Jennie. Jennie was the newest edition, while Charlene had been in the band since 1986. The girls picked out their matching outfits back then, so you get a good look at what was considered fashionable at that time. Also, a look at the hairstyles would give any current ’80s retro band some helpful ideas.

This performance is the Boomerang version of the song “When Phone Stops Ringing” from 1986. The song was also covered by Eighth Wonder, featuring Patsey Kensit, in 1987. Boomerang was a girl group comprised of three current and former singers of Kid Creole and the Coconuts. On an aside, Kid Creole and the Coconuts were one of the best live performances I have ever seen. They billed themselves as “That international band of renegades,” and it fit perfectly.

Some things to notice are the excessive treble on the picked bass guitar and the use of Simmons electronic drums, two hallmarks of ’80s instrumentation. Jim initially captured this recording on a VHS tape, then I digitally transferred to a DVD, and finally converted to an mp4 file. As a result, there is some skipping glitches here and there, but that doesn’t take away from Jennie’s excellent performance. 

I recently visited Short’s on the 32nd anniversary of this performance; yes, it is still in business with the same owner from 1988. It looked unchanged, save the pool table set up on the elevated stage area. According to the bartender, they rarely have bands performing, though they do advertise karaoke nights, something that Short’s spearheaded in the ’80s.

New Shows Confirmed

Here are some new performances confirmed since our last edition of the Confetti Clatter. You can click on each event to add to your electronic calendar and find directions to the venues through Google Maps.

30jun6:00 pm8:00 pmEvent CancelledBurgundy Basin Cruise In

28jul6:00 pm8:00 pmEvent CancelledBurgundy Basin Cruise In

04aug6:00 pm8:00 pmCharcoal Corral Concert Series

The Confetti Clatter – March 2016 Newsletter

Posted on by John Giotto

Recording Update

We continued to record tracks for our upcoming release. Due to the limited availability of the girls while school is in session, recording proceeded in piecemeal fashion.

We began with some unfinished business. On January 10, Paul Kanack laid down the upright bass track to “Little Town Flirt.” Paul was not available when the drums and guitars were recorded back in August. This new track added much-needed bottom to this song. At a future session, we will have Matt Doi add the baritone saxophone part, which will fortify the low end.

Paulsdigs into the bass while recording his part for "Little Town Flirt."

Paul digs into the bass while recording his part to “Little Town Flirt.”

Moving on, Sarah and Sierra recorded the backup vocals to “Little Town Flirt” on February 28. During this same session, Sierra recorded the lead vocals to “That Boy of Mine.” The playlist below shows excerpts from this recording date.

On March 13, Michelle and Sierra recorded the backing vocals to “Mister Sunshine.” The playlist below shows the girls singing two parts of the three part harmony, and then Michelle adding the third part. Notice that during this session the girls are not wearing headphones to hear the recorded music, rather, the music is being pumped into the studio by way of the studio speakers. This technique seems to create a more natural vocal performance, a positive that far outweighs the negative of any bleed of the music into the vocal track.

If you enjoyed this edition of the Confetti Clatter, please share it on social media by using the icons below. Also, if you have any questions about these recording sessions, use the comment area; we’ll get back to with you a response as soon as possible.

The Confetti Clatter – February 2016 Newsletter

Posted on by John Giotto

The Hollies

February has been a slow month for the group, so I thought I would share an inspirational music program. I was recently surfing on qello concerts, when I chanced upon The Hollies, Look Through Any Window 1963-1975. Having always been a fan of the group, but interested in knowing more about them, I proceeded to watch this documentary. 

I was totally floored.

Some takeaways:

  • These guys look like kids in the early years
  • Bobby Elliot is an unorthodox drummer who always seems to play what is absolutely correct for the song
  • Tony Hicks has to be one of the most under-rated guitarists of the rock era, paying this guy 18 pounds a week, as demanded by Tony’s father, was money well spent, great singer too.
  • The magic between Clarke and Nash is palpable; CSN can’t hold a candle to CNH!
  • You have to admire how these guys kept plugging away, even after the departure of Nash, way to go!

Included in the documentary is some footage shot by George Martin at Abbey Road studios, during the January 1967 session for “On a Carousel.” If you get a chance, you have to watch this in its entirety. If you don’t subscribe to qello.com, it’s available on DVD at amazon.com

Here is an excerpt from the Abbey Road session, the a cappella three-part harmony practice at the end of this clip is amazing. Notice the alternate cold ending, which would have been much better than the fade-out.

Spotlight on Eliza Schneider

Perhaps as a regular feature we will highlight a past band member or singer from the group. There have been many, but in this edition I will spotlight Eliza Schneider, from the first teen lineup in 1988. Eliza’s edition in March of that year rounded out the teen trio with Tricia & Jennie.

Eliza has gone on to arguably have the most successful career in entertainment of all of the members of the group, though Bennett Kilmer may be a close second. Eliza’s work post-group includes several television series and countless voice-overs, including work on the TV show South Park, the movie Finding Nemo, and the game series Assassin’s Creed.

The following media clips show some examples of Eliza’s work with IT’S MY PARTY!

Here’s Eliza singing lead on a demo tape version of the Deborah Galli song from 1984 entitled “American Boys.”

Here’s Eliza singing lead on The Girlfriends song “My One and Only Jimmy Boy,” live in Penfield, June 1988.

Here is a clip of Eliza in the studio WBER studio on April 20, 1988, working on the backing vocals to “Walkin’ With Me.”  Watching this 17-minute reveals the spontaneity of this session. At times we almost seem to be winging it. Eliza is quite a trooper through it all, demonstrating the patience and collective give-and-take necessary in the studio. Thanks go out to our friend, Jim Marrow, who captured this, and other early IMP moments, on his VHS video recorder.

Here’s a segment of a documentary from Bravo Network with Eliza that will give you an idea of what she’s been up to lately.

Here is Eliza’s official website, if you’re interested in learning more about her.

Our YouTube video to “In Your Letter” has recently gone over 1,000 views. If you get a chance, give it a view, a thumbs up, and a comment. 

Well, that’s all for now, we’ll have more studio updates in our next issue.

The Confetti Clatter – January 2016 Newsletter

Posted on by John Giotto

IT’S MY PARTY! returns to the Recording Studio

We went back into our recording studio on January 3 to track more music that will be used on a forthcoming, yet untitled, release. Our friend and fan, Ken Kleinendorst, drove up from Central Pennsylvania with his new video camcorder and camera to chronicle the session. If you have been following our recent newsletters, you are familiar with this evolving story, if not, please read our past issues.

Engineer Calvin May started setting up the session at around 11 AM. As planned, musicians JP Pitchard, Matt Doi, Paul Kanack and I warmed up, and then laid down the accompaniment to the song “I Almost Forgive Him.” We did most of the pre-production work for this song at an earlier practice in December, so things went smoothly.

Paul Kanack, JP Pitchard, and Matt Doi get ready for a take of "I Almost Forgive Him."

Paul Kanack, JP Pitchard, and Matt Doi prepare for a take of “I Almost Forgive Him.”

The instrumental tracks consisted of JP on the Fender Jaguar guitar, Matt Doi on the 12-string Rickenbacker electric guitar, Paul Kanack on the Fender P-bass, and me on the vintage 1962 Slingerland drum set. 

Michelle sang a guide vocal as the ensemble performed five takes. A guide vocal helps the musicians in two ways. First, it helps to keep their place in the arrangement, and secondly, the guide vocal elevates the performance emotionally.

Once we were satisfied with the keeper take, we began the process of recording the vocals. Calvin brought his Sure SM7 microphone to the session to record the lead vocals. This is the same microphone used to record Michael Jackson on the Thriller album. Michelle recorded two separate lead vocal tracks as she listened to the instrumentation through headphones. We will blend these two tracks together in the mix to create the vocal doubling effect, used on many of the ’60s girl group records. Lesley Gore is famous for her vocal doubling. The Beatles cited Lesley’s double-tracked vocals as a example of how they wanted their lead vocals to sound when recorded. Doubling the vocal, when done correctly, can produce a nice fat sound. 

Sierra and Sarah practice backing vocals around the Lawson L-47 microphone

Sierra and Sarah practice backing vocals around the Lawson L-47 microphone

At the end of the session, Sarah and Sierra joined Michelle to record the back up vocals to “I Almost Forgive Him.”  We used the Lawson L47 microphone to capture the vocal ensemble. Back up vocals are best recorded using one microphone for all of the singers. It is up to the vocalists to create the correct blend and balance by moving closer to, or farther away from, the microphone and listening to each other. Some vocalists prefer to have one headphone off the ear, so they can hear each other in the room, rather than in the headphones. After the backup vocal session, we laid down a hand clap track, which included Ken as part of the hand-clap gang. Upon reviewing the instrumental tracks, it seemed as though something was missing in the percussion session, so we will add a tambourine at a later date.

Mystery Cover Revealed

In addition to recording “I Almost Forgive Him,” we turned out attention to another unfinished song. Back in the summer we laid down the instrumentation for what would have been our first recording featuring a male on lead vocal. James Schrag, our multi-talented musician, seen mostly on violin during the performance season, has a great singing voice. I wanted to give him a lead, with the girls singing the backup vocals. This format was very popular in the early to mid 1960s with artists like Bobby Vee, Del Shannon and Lou Christie, all of whom used The Angels for the backing vocals.

We chose the Del Shannon song “Little Town Flirt” for James to sing, which had also been covered by Jeff Lynne and the Electric Light Orchestra, a band favorite. Our version is a bit of a hybrid of the original and the ELO version. We chose the key of C, like the ELO rendition, because of James’ limited range in the high register. The feel of our take is more early rock n’ roll, like the Del Shannon version, as opposed to the more rockin’ version of the Electric Light Orchestra.

As the session proceeded, with James singing a guide vocal for the musicians to follow, it became apparent that even the key of C, a half-step lower than Del Shannon’s original, was too taxing for James to sing clearly without straining his voice. It seemed like the whole idea was going to be placed on the scrap heap.

Not willing to give up totally on the idea, I turned to Michelle and asked her to give the lead vocal a few tries. After all, it couldn’t hurt, so we “rolled the tapes” as she sang. The results were interesting. Although the lead vocal starts out very low for Michelle, it brings out a kind of sultry delivery, and when the vocal soars into what would be the falsetto for a guy singer, Michelle was able to belt out the passage. The song now becomes a girl warning a guy about the flirt, so no changes were needed to the vocal line — wow this had some real possibilities!

So, here is an exclusive video, shot by Ken, of Michelle singing the lead vocal, see what you think. We also quickly recorded the backing vocals, but since the girls had not practiced those parts since August, we would like to record them again at a future session, perhaps in March.

Call to Action

Are you connected with IT’S MY PARTY! on your mobile phone? Just text getimp to 444999 and you’ll join our mobile app, it’s another great way to keep up-to-date with our group.

Are you familiar with the band site ReverbNation? Become one of our fans by visiting our ReverbNation site.

Are there any questions or comments you have regarding this post? Leave a reply below to start a discussion, we usually respond promptly.

Also, don’t forget to share this article on your social media pages, by using the links at the bottom of this edition. 

The Confetti Clatter – December 2015 Newsletter

Posted on by John Giotto

Recording Update

We continued to work on our latest recording project in December. Our goal is to have a release, along with new merchandise, by the performance season this coming July. As a recap, we have three songs worth of basic tracks completed. These songs are, for the most part, instrumentally complete and ready for vocal tracks. One song “Mister Sunshine,” is further ahead, it has the lead vocal tracks recorded by Sarah, and only needs the backing vocals. “That Boy of Mine” is lacking all of the vocal tracks, as is our yet-to-be revealed classic cover song.

One of our goals in December was to assess the feasibility of a strong performance of the classic cover. Our recording of this instantly recognizable song is a half-step lower than the original, and was intended for a guest male vocalist, with the IMP girls singing backups. That idea being scrapped back in August, it remained to be seen whether Michelle could sing the lead vocal in the key of C. A December rehearsal showed promise, and although the melody begins at the low end of Michelle’s register, it may produce interesting results.

I will share one clue about this classic song, it was originally recorded and co-written by an iconic male singer/ songwriter from the 1960s. This artist saw his career resurrected in the late 1980s with the help of hit-makers at that time, who saw him as an influence and inspiration. I was very fortunate to have seen him perform live in the 1980s at the now defunct Rochester Festival Tent. His energy was palpable, and I was amazed to see so many college-aged kids rocking in the audience; newcomers, who most likely discovered his music on their parents old records.

One exciting aspect of this recording project is that we are working for the first time with Michael Lynch, a musician and songwriter from Downstate New York. Lynch submitted two songs, “Mister Sunshine” and  “I Almost Forgive Him.” These tracks, when completed, will be the first group originals since the 2012 releases of “Dear Michelle (The Fighting’s Begun)” and “Bus Driver.”

Lynch’s songs fit our style, especially in regard to the lyrical content; more on this in the following article. Both tunes ooze with the girl group feel. Lynch left room for the backing vocals wide open; there is only a hint of backups during the fade on his demo of “Mister Sunshine.” In both of his recordings, Lynch has some two-part harmonies, not all that common with the girl groups, but more so with the solo singers classified in the girl group genre, like Lesley Gore. The instrumentation on both demos includes piano and guitar. With his permission, I have included both of Lynch’s demos for our readers to give a listen. It should be fun to refer to these again, after we release our versions of these two songs.

As a producer who dabbles in songwriting, it’s always cool to work on a fellow songwriter’s material. One thing I like to keep in mind is that these songs are almost like children to the songwriters, and you have to respect their artistic vision. I usually feel out how each writer receives my suggestions. Everyone is different, and how much, or how little, of an arrangement they provide varies from writer to writer.

Syeed Abdulal-haqq, our main songwriter — he penned “Bus Driver” — takes a simple approach. He passes his material to me as a live vocal performance. Typically, Syeed opens up a legal pad, and sings the melody to his jotted-down lyrics. I get to fill in all of the arrangement, instrumentation and backing vocals, giving me a tremendous amount of latitude.

Syeed is very easy to work with; in the end, he usually says, “I like what you’ve done with my song.”  Song ideas come to Syeed spontaneously, so way back, we purchased a mini-cassette recorder for him to sing into, when the creative spirit moves him, so he doesn’t lose a possible new song idea. To this day, I’m not sure if Syeed plays a musical instrument.

Paul Kanack’s material comes to me in a more structured form. As a musician with singing ability, and a strong grasp of the girl group sound, Paul has a clear vision for his works. I can make some suggestions about the instrumentation and possible backing vocal arrangements, but, for the most part, his songs have few changes from his original ideas.

Two examples of Paul’s songs where I made some subtle changes come to mind. The first is his song “On the Beach Tonight.” On this song, I added the backing vocal chant during the fade-out, “Fun, fun for everyone; All day, out in the sun.” The other song is “The Joy of Love,” where I helped change the opening lyrics from “When he walked my home last night” to “Romeo just held me tight.” The latter change came during an inspired moment while dinning with Paul at the Burger King in East Rochester, perhaps channeling artistic energy lingering from Philip Seymour Hoffman, who once worked at this particular location. Always have a pen and napkin handy!

This is the first time I have worked with Michael Lynch. The challenge working with Michael, is that he is not local, so all communication has been through Facebook. Lynch, a multi-instrumentalist and singer, presented his material to me as completed demos (refer to the SoundCloud embedded tracks). As a producer, it’s easy to be swayed into using the exact same instrumentation, vocals, and arrangement as on a complete work. It’s not even a question of being lazy, it’s just too easy to be influenced by a song in finished form.

Phil Collins once suggesting that he’s not influenced by anybody; while that seems silly, he continued on to say that he does not listen to any music when he’s in creative-mode. For me, the more sparse the production is on the demo, the easier it is to develop an arrangement for the group.

We left Lynch’s “Mister Sunshine” very true to the demo when we recorded it back in August. During the “That Boy of Mine” session in October, we decided to defer the recording of “I Almost Forgive Him” until we could work out a new arrangement. So, on December 23, Michelle, Sarah, Sierra, and Matt Doi met with me to come up with some ideas. I wasn’t sure if I wanted to keep the opening riff of the song, which Lynch repeats again, in full, before the third verse. As I was about to search for something different, Matt Doi, one of our talented multi-instrumentalists, referred to the opening hook positively, identifying it as having a “Louie, Louie” feel.

“Hmm,” I thought, yes indeed, how could we change the opening after that comparison!

When listening to “I Almost Forgive Him,” I hear the Merseybeat sound, similar to Freddie and the Dreamers or Gerry and the Pacemakers. There’s room for a jangling Rickenbacker 12-string guitar, especially during the instrumental break. It all seemed to make sense. With the feel and instrumentation taking shape, we went on to consider the backing vocal arrangement.

Parts of “I Almost Forgive Him” are open to smooth vocal “oohs,” and, dare I say, perhaps some “yeah, yeah, yeahs.” The girls really dug the tune and started to offer some suggestions. Michelle and Sierra came up with the idea of using a call and answer, which would preserve the two-part harmonies in Lynch’s demo. In this idea, the lead vocal sings when there is no harmony, and the backups answer her in two-part harmony. As this idea materialized, it became apparent that we needed to change a few of the lyrics to reflect the lead singers point-of-view, and then the back-up vocal responses. We were all excited about this direction. Hopefully Michael Lynch will enjoy our interpretations of his songs.

We are going into the studio to record “I Almost Forgive Him” on January 3. We’ll let you know how things turned out in next month’s edition of the Confetti Clatter.

The Challenge of Covering Contemporary Songs

From time-to-time our fans have asked us to record a current pop song with an IMP twist. This idea piqued my interest, so I began tuning into the now-sound to see what grabbed me. I’m sure you’ve heard one of those stations that rotate the same 10 songs every hour. As tough as it was to listen to such a limited playlist, I must say, there were a few decent numbers in the short rotation, some sounding like possible targets for an IMP cover.

So, what have I heard lately? One song that is repeated every hour is a Fall Out Boy song called “Uma Thurman.” If you’ve been hiding under a radio rock since the early ’90s, like me, in this tune, Fall Out Boy lifts the Munster’s Theme by playing it on electric guitar over a thundering drum track. I’m not sure how that riff ties in with Uma Thurman, because that’s not the song she danced to in Pulp Fiction. Gee, I wonder if any of the kids listening to that song even know where that guitar riff comes from? Though it had a retro-feel, this tune was not a song I would consider for us.

“Uma Thurman” not being the best pick, the next song that lured me in was “On My Mind,” by Ellie Goulding. The song’s hook felt right, and, although it’s sung in a monotone, I thought it had potential. Feeling good about this track, I added the tune to my SoundHound app history, something I often do when looking for cover material. You see, at my age you get senior moments, but SoundHound will save the history of the songs you searched for future reference. For the record, Big Lots is an excellent venue for song ideas, they seem to pipe in a nice cross-section of music, so I always have my smartphone handy when shopping there.

Okay, so, SoundHound shows the lyrics of the song in real-time, and as I read the lyrics to “On My Mind,” this song went down the tubes as far as a potential cover song.  Now I’m not a good-two-shoes, but girl group lyrics do have a sense of innocence or naivete, such can not be said for “On My Mind.”

And I quote from the song:

“Poured it down, so I poured it down
Next thing that I know I’m in a hotel with you
You were talking deep like it was mad love to you
You wanted my heart but I just liked your tattoos
Poured it down, so I poured it down” 

I don’t think so, this isn’t even Shangri-Las material. I wonder what she’s pouring down? I have been warned by the IMP girls that today’s lyrics are the main hurdle in finding the proper fit for the group.

So, why record one of these songs in the first place? First, it’s a challenge, and could be fun. Secondly, and more important to exposure for the group, it has the potential to introduce us to a wider audience, that’s what covers do. Heck, even the early Beatles albums were heavy on cover music. Cover material, which I refer to as “islands of familiarity” hopefully lead the listener to your original material.

Call To Action!

Perhaps you know a current tune we can cover, feel free to leave a reply to this edition of our newsletter, perhaps we can get a discussion going! 

Have you visited our YouTube page? This is where we post all of our video content. Watch, subscribe, and comment!

Are you connected with IT’S MY PARTY! on your mobile phone? Just text getimp to 444999 and you’ll join our mobile app, it’s another great way to keep up-to-date with our group.

Also, don’t forget to share this article on your social media pages, by using the links at the bottom of this edition. 

 

 

The Confetti Clatter – November 2015 Newsletter

Posted on by John Giotto

Recording update

As a continuation of last month’s edition, the fine folks at Orange County Speaker have repaired our Urei 809 studio monitors, they are now back in our possession. What seemed like a mundane task, shipping speakers, turned into any but, and yielded a funny story. As is the case of most musicians, few are getting wealthy monetarily, but oh what rich tales they can tell about the journey.

The story goes like this: Having looked over Orange County Speaker’s recommendations for shipping, I decided to use the UPS shipping center at the Staples at Panorama Plaza in Penfield. While at Staples, I ended up having a conversation with the attendant who helped me send the boxes to California; she was naturally curious about the contents — Orange County recommended shipping each speaker separately. I explained the situation and told her that the speakers had worn down after 26 years of use, and that it was inevitable that the foam portion of the speaker would eventually disintegrate.  The woman, who was both helpful and gregarious, immediately perked up and said something the effect that she was surprised that anyone would repair old speakers. I told her that these were very fine speakers and therefore there were companies that deemed them worthy of the repair.

I went on to totally set myself up by saying, “And after this repair, these speakers will be good for another 25 years!”

Her quick retort, “No offense, but you had better put those speakers in your will, because I don’t think you’re going to be around then.”

Be that as it may, for the here and now, we are ready to continue our recording project, which we should complete by January. The next song  we will record is the original “I Almost Forgive Him,” and then a few surprises. We will keep you updated in our next edition of the Confetti Clatter.

New concept/ promotional video available soon on YouTube 

Every so often we release a concept, or promotional video for a specific recording. Rather than a live performance, the audio portion of the thematic video is a studio recording of a publicly released song. In this article, I will chronicle our three promotional videos, concluding with an explanation of our most recent release, which we are sharing with you first, our newsletter subscribers.

Having completed the full-length CD Can I Get To Know You Better in 2001, we decided to promote it with a performance in Los Angeles as part of the annual International Pop Overthrow Festival. It was our second return and we had made great impressions with audiences in Los Angeles at the previous two festivals.

The entire stay in LA was magical, to begin with, we were scheduled to perform at the famous Troubadour on Santa Monica Boulevard. We were psyched to take the stage at this legendary venue, where so many noteworthy artists made history, including the live debut of Buffalo Springfield, the USA debut of Elton John and the LA debut of Billy Joel.

Besides performing at the Troubadour, we had a goal of shooting video footage for the song “On the Beach tonight,” written by Paul Kanack, then our de facto manager, and now our bass player. Our thinking was, hey we’re in LA, what better setting for a beach song could we find? 

Besides filming at a public beach, another thought for shooting the video was to replicate the same scene as the Turtles video for their song “You Baby.” That video was filmed in 1965 on the sidewalk in front of the Water and Power Building in downtown Los Angeles. Perhaps some of the magic from that stellar group would rub off on us. We did feel a bit of a connection with the Turtles as we too covered “Can I Get To Know You Better,” and picked that song as the title track for our album. As an aside, how many of you know the original artist of “Can I Get to Know You Better?” Feel free to add a comment, if you would like to venture a guess.

We picked Zuma Beach for one possible location, we even scoped out the downtown site, which looked strikingly similar to the Turtles video, over 35 years later.  About to make the decision for the location, we casually mentioned our intentions to members of the Teen Machine, one of the local LA bands, also performing at the International Pop Overthrow. Our idea was quickly dashed. You see, the guys in the Teen Machine know a little about the landscape of their hometown, they explained to us how strictly regulated the film industry is in Los Angeles. They went on to warn us that would-be directors have to acquire a permit from the organization Film L.A. Inc., before they can do any filming in the County of Los Angeles. At what borders on being a racket, the cost of the permit, mandatory fire hazard expert, and required insurance is staggering to the independent or amateur filmmaker. Our spirits noticeably dashed, the guys from Teen Machine suggested that if we knew exactly what we wanted to do, headed out to the location, rushed out of the car, set up quickly, and finished before we drew a lot of attention, we may be able to pull it off. Not liking our chances, we formulated Plan-B.

Google Image of N Hope St Los Angeles

N. Hope St, across the street from the Water and Power Building, where the Turtles filmed the “You Baby” video in 1965

We were staying at the Orchid Suites Hotel in Hollywood. David Bash, organizer of IPO, suggested the hotel, and the  place was pretty nice, it included a pool, as well as a roof-top deck.  We used the deck more than the pool, and in fact, we seemed like the only guests using that amenity: Plan-B!

With the help of the Teen Machine we hired dancers for the shoot, including some of the Teen Machine band members. The day of the shoot was particularly hot and, for LA standards, humid. We did make-up, hair and costumes in our hotel rooms, and then sneaked up to the patio deck. As had been the case the whole stay, no one was up on the rooftop that afternoon. We moved some of the deck furniture around, and created a space for the performance. Using a portable CD player, we played our recorded version as the girls sang over the track and the dancers created a Shindig feel.  For this video, we used three different cameras, one far-field, one near-field, and the third camera trained on Cara, the lead vocalist. Cara and Rhian’s dad, Jerry, was one of the camera men, along with Jim Sawicki, the keyboard player, and I. The whole shoot went off seamlessly, I was pleased with the dancing, it really added that feel we were after. Three tapes in hand, we returned to Rochester and passed along the footage to the Reverend Sam Lovetro, who wove his magic and produced the final video. We have embedded the clip from our YouTube channel for your convenience.

The gig at the Troubadour went very well, although bands in the festival were only allotted a 20-minute set, there were plenty of folks who came out specifically to see us. My cousin, Matt, made the trip from San Diego and my good friend Mike Brooks, whom I knew when I lived in LA back in the early ’80s, also made the trip from the San Fernando Valley. Also in the crowd that night was Darian Sahanaja, from the group The Wondermints, Andy Paley, who had worked with Madonna, Kim Fowley, formerly of the Hollywood Argyles, and Brian Wilson. Everyone wanted to get some face-time with Brian Wilson, and we were lucky enough to get a photo with him with the three IT’S MY PARTY! girls. I had a very interesting conversation with Kim Fowley. All decked out in his red leather suit, Fowley pulled me aside and asked what it would take for him to start working with the girls. Our conversation was periodically interrupted by members of the crowd shouting “Alley Oop” toward Fowley, who seemed to take it all in stride. Another memorable moment from that night was Cara and Rhian being chastised by management for walking around the club barefoot. Clearly, the amount of broken glass on the floor warranted the scolding.

The second concept video was for “Wanna Make Him Mine,” the title track from our three-song release in 2011. We had a relatively new group of girls and wanted them to create an identity. The idea was to show the popularity of IT’S MY PARTY! in the media, the video implies that the group was taking the nation by storm.

The video begins in someone’s living room, where we see a hand turning on the television set, and it’s tuned to IT’S MY PARTY! as they perform “Wanna Make Him Mine,” perhaps on Shindig.  As the picture fades to static, there is an outdoor scene. Keenan Bartlett, our then keyboard player, is at the wheel of Paul Kanack’s vintage car. Keenan turns on the car radio and is content when he hears IT’S MY PARTY! performing “Wanna Make Him Mine.”  

The most difficult part of this video was trying to move the footage inside the still shot of the old television set to create the appearance that the girls were on-the-air. The old set has rounded edges, which made it a challenge to line up the video inside the TV.

We shot the video in May of 2011, around, and on, Memorial Day. In fact, we headed off to B. Forman Park in Pultneyville for our annual band spring picnic after filming the sequence with Keenan. We used a single camera for the girls singing the song outside on the driveway of our recording studio with a bed sheet behind them as a backdrop. Later we replaced the “green screen” with the brick background. The end result was very convincing, although, if you look carefully, you can see a crease in the virtual brickwork where the actual sheet backdrop had a wrinkle or two.

The storyboard for the video, created by the IT'S MY PARTY! girls

The storyboard for the video, created by the IT’S MY PARTY! girls

Our most recent addition to the concept video promotes the song “In Your Letter,” one of the three tunes from our 2015 release He Wasn’t Like That (When He Used to Be Mine). As this is the most recognizable song, it felt like the right choice. The girls worked on the storyboard for the film, and they came up with this idea; we would have a scene where the girls are singing the three-part harmony hook, and then a look into a romance-gone-bad, through the eyes of Michelle, the lead singer of the song. Dylon, our keyboardist, played the part of Michelle’s boyfriend. 

For the chorus scene, we used one of the bedrooms at our home studio. For the happy and break-up scenes, we used to locations.  One was the Highland Bowl in Rochester, which happened to be setup for the currently-running play, Henry IV,  providing an interesting backdrop. The second location was at the Highland Park Diner, a Rochester landmark.  

I would like to thank the management at the Highland Park Diner for allowing us to use the restaurant during regular business hours, if you are ever in Rochester, please pay them a visit, the ambiance is as good as the food.

Also, thank goodness Rochester is not as strict when it comes to filming in a public place as Los Angeles, we had no problems at all shooting footage at the Highland Bowl; granted there was no one there at the time, and the production was more homespun than professional.

I’d like to also thank Billy Eberts, a prominent musician in our area, and his happy-go-lucky assistant, Chris Esfandiari, for taking time out of their valuable schedules to do all of the filming and post-production work on this video. Their willingness to accommodate our requests and lighthearted nature kept things fun.

Billy Eberts has the unique ability of gathering musicians from different backgrounds and having them come together with a unified sound. His newest project is the ’80s retro band, The Breakfast Club.  To find out more about Billy Eberts and his various musical projects, click here.

In Your Letter

Click this screenshot to watch the new video

I wanted the last scene to show two story lines, the angry diner clip, along with the chorus of girls singing, to heighten the emotion at the end of the video. The challenge for Billy and Chris was getting these two scenes to work well together, without one distracting the other. They tried a few different versions of the end scene, with mixed results. In the first version, they placed the girls singing the three part harmony in an oval on top of the blinds in the diner. It worked well, until any object moved into that area and ended up passing behind the singers. Try as they may, they could not move the scene of the girls in an area where it did not interfere with the action in the diner scene. Next they tried making the girls semi-transparent, but that fell flat. Finally, we decided on a kind of Brady Bunch split screen, and it seemed to create the desired effect. You can watch the final version here first, before we release it publicly on YouTube, by clicking on the link provided.

That’s all for this month’s issue, don’t forget to like us on our Facebook page, or share this post on your social media pages by using the icons below. If inclined, please leave a comment, we’d love to start a dialogue. And don’t forget to weigh on our poll to vote for your favorite of the three concept videos.

 

The Confetti Clatter – October 2015 News Update

Posted on by John Giotto

Group goes back into the recording studio 

IT’S MY PARTY! returned to the recording studio on October 11. Although the plan was to record tracks for two songs, the musicians decided to table “I Almost Forgive Him,” an original track by Michael Lynch, so they could work out the proper key signature and arrangement. The group instead focused on a remake of the Sherrys’ original “That Boy of Mine,” a song created with that famous Philly sound of the early sixties, of which songwriters Madara and White were a part of. You may know the Sherrys more for their hit record, “Pop Pop Pop-Pie.” 

Matt Doi, John Giotto, and Paul Kanack laid down all of the music tracks. First they recorded the bass, guitar and drums live (at the same time). Next, Matt Doi recorded a second guitar part, and then baritone and tenor sax; to say Matt is talented is an understatement. Finally, Paul Kanack and John Giotto added hand percussion, which included slapstick, hand claps, and maracas. There may be room for a symphonic chime part at a later date.

Giotto decided that Sierra’s voice was well-suited for the lead vocal on this track, and she sang live in a separate room during the basic tracks. By singing during the tracking, the musicians gain an extra emotional lift, which can help to elevate a performance. Sierra’s vocal did just that. Sierra will return to the studio at a later date to record the “keeper” vocals” along with Michele and Sarah on backing vocals to complete the tracking.

The photo of the Urei 809 speaker with the foam intact. Our Ureis were manufactured in 1987, and the foam lasts about 30-years.

A photo of the Urei 809 speaker with the foam intact. Our Ureis were manufactured in 1987. The foam lasts about 30-years before disintegrating.

On a side note, all was going well during the recording session, when suddenly the producer and engineer noticed that the left speaker in the control room was distorting badly, especially in the low, or bass, register. This was odd because all of the equipment, from the interface, to the amplifier, to the speakers, is top-notch. Giotto decided to pull the protective grill from the face of the offending speaker, and what the team saw was not good: The foam around the circumference of the speaker had deteriorated in many spots, leaving gaping spaces where the speaker was no longer supported.  An inspection of the right speaker showed tears, the first sign that the foam would eventually fall apart, like the left speaker. Both speakers were removed from their cabinets, and sent to Orange County Speaker, in California, for re-foaming. Any additional tracking and recording has temporarily been placed on hold. If all goes well, the studio should be up and running by December. In the meantime, the group will work on the Lynch tune.

As we mentioned in our September newsletter, another idea 💡 from the team is writing an answer record for a song written and recorded in the late 1970s by a renowned artist, and then covered in the mid-1980s, when it became a big hit. An answer record borrows the elements of the original song, but takes the lyrics in a new direction. We will keep this song a secret until we actually begin the recording in December. We will say that the songwriter of the original song is someone whom Giotto has great respect for, and has had the opportunity to interview on two occasions in the late ’80s and early ’90s, when he worked at WBER, a community radio station, which broadcasts from Penfield, NY. Sadly this songwriter has passed away, and Giotto felt that it was time for a tribute record of sorts. Giotto and Kanack are working on the answer record, which should be completed soon.

New YouTube video available, more to follow

Ken Kleinendorst and Michele pose for a photo at one of our shows.

Ken Kleinendorst and Michelle pose for a photo at one of our shows.

Thanks to our fan, Ken Kleinendorst, several live performance videos of our group are now available. Ken makes his way up from Central Pennsylvania on many occasions to catch an IT’S MY PARTY! show, and when he does, he usually brings his video recording gear along with him. If you have been to one of our shows, I’m sure you’ve seen Ken. In his mid-eighties, Ken is still going strong, he has been known to arrive early on the day of a performance and help with the set-up of the equipment, as well as aiding the tear down at the end of the night.

Ken recently sent us a batch of DVDs with footage from shows including Batavia, Hammondsport, Burgundy Basin Inn, and Van Bortel. This is very fortunate because we find it very difficult to set up our own video taping equipment, with so much else to do before the show. 

We are in the process of reviewing and then uploading the best performances to our YouTube channel. The first offering is a rendition of “To Sir With Love” from our August 11 show at the Burgundy Basin Inn. 

One of the challenges working with Ken’s videos is that, although the footage was recorded in 720p, the aspect ratio was set at 4X3. Unaltered, these videos would display those ugly side bars on YouTube — think old television shows. So, we have to zoom into the frame, cutting off some of the top and bottom information, to create the look of a 16X9 video. We have spoken to Ken about this , and he has set his camera to shoot in 16X9 from now on. Ken is hoping to come up during the December recording sessions, so we will have some nice videos in the near future, which we will pass along to our fans. By the way, Ken performed the sleigh bells on our recording of  “You Won’t Even Know Her Name,” so don’t be surprised if he puts down the camera and joins in again on the upcoming sessions. Ken is a great fan, friend and truly a high-energy guy!

 

The Confetti Clatter – September News Update

Posted on by John Giotto

August shows bring concert season to an end 

Posing before the August 11 show at Burgundy Basin

Posing before the August 11 show at Burgundy Basin

IT’S MY PARTY! performed eleven concerts in August, concluding the season at Van Bortel Chevrolet in Macedon, NY, as the entertainment for a Corvette cruise-in. The weather for the event was perfect and Van Bortel graciously offered free food to attendees from various well-regarded vendors. In atypical form, the group stopped between songs and solicited requests from the audience. With many regular attendees at this finale, the more laid-back approach seemed appropriate. A couple from Ballston Spa, NY traveled a fair distance to see the group for the first time, having discovered IT’S MY PARTY! on YouTube, making the event even more meaningful.

In addition to the Van Bortel performance, August stops included returns to What’s ‘Ur Scoop Ice Cream, in Penfield, NY, Hammondsport. NY, Batavia, NY and Shortsville, NY. The group also performed for a second time in the season at the Burgundy Basin car show and Waterloo Premium Outlets. Another show on August 4 was a rescheduled concert at the Charcoal Coral in Perry, NY that had been rained out in July. New venues in August included a car show at the Genesee Brew House at High Falls in the City of Rochester, and a show at the Legacy community at Clover-Blossom. A concert promoter from New Hampshire approached the group at High Falls and talked about the possibility of regional performances next summer. He must have enjoyed the show, because he also attended our performances at the Burgundy Basin and the Legacy.

IT’S MY PARTY! returns to the studio

Tracking began August 21 on a new recording scheduled for release in 2016. The group is concentrating on two songs pitched by Michael Lynch, a talented songwriter. Lynch provided demos of his songs “Mister Sunshine” and “I Almost Forgive Him.” Lynch played all the instruments on the demos and even sang the vocals. These songs lend themselves to an interpretation by IT’S MY PARTY!

In addition to the two Lynch songs, the group will record two cover songs, one of which is a song by the Sherrys, a ’60s girl group from Philadelphia. The other cover will be a surprise for our fans, so we will keep that under wraps for the moment. Finally, the group’s producers are working on an “answer record” like those prevalent in the ’60s — think “Jerry (I’m Your Sherry)” by Tracey Dey. One of the issues with an answer record is the possibility of copyright infringement, so we will seek counsel regarding the proper crediting of the original song.

Advances in on-stage technology also bring new issues

Our entire show is run by way of an Ipad through a wireless network

Our entire show, sound and lighting, is run by way of an iPad through a wireless network. You can see the digital console and wireless router center-left in the photo.

Technology is designed to make our lives easier. This is especially true in the area of live touring. Through the years speakers and amplifiers have become smaller and lighter without sacrificing power and volume. Consoles are now digital, with on-board effects, making setup faster, and allowing scenes to be saved from show to show. You may recall from years past the image of a sound engineer stationed under a pop-up tent at our shows. The engineer was sitting behind a soundboard connected to the microphones and speaker system by a series of cords, including a long conduit called a snake. Perhaps you spoke with him about the mix. Now you may wonder whether we even have a sound engineer: No snake, no pop-up tent, no obvious console. That is because we are now being mixed on an iPad, which communicates with a digital board, located on stage, through a wireless network. Sound engineers are now free to walk about to venue, iPad in hand, as long as they are within range of the network.

The wireless setup has come in favor over the past five years. Wireless setups are less obtrusive; this is a big plus aesthetically. Although I can’t confirm it, there is a community that will not ask us back because of an incident at a show there in 2005. The person in charge complained about our sound mixing popup tent being set up in a position that could potentially block the view of audience members on a rise behind it. Trying to accommodate, we moved the tent from the optimum center position to the side of the lawn, apparently this did not propitiate the talent buyer .

Although digital advances have made for a cleaner and faster setup both for sound and lighting, with new technologies come potential issues. At our show in Hammondsport this year, the iPad suddenly refused to communicate with the board, in effect, our mix was frozen. We had to apologize to the audience and, much like a computer, restart the board. After restarting, the issue was resolved for the remainder of the performance. 

Another issue is that sometimes– and this happens more during afternoon shows — the iPad overheats and shuts down, effectively freezing the mix and not allowing for any subtle changes. This has happened to us three times in the past two seasons. A quick search on this issue will uncover many discussions on iPad overheating and the causes, everything from the version of the iPad, to hot weather, the use of a protective cover, to the strain on the processor of a resource-hungry app — like our mixing app. Curiously, airplane pilots seem to have this problem with regularity when flying, though I ‘m not quite sure why.

If you would like to weigh in on some ideas how to keep our iPad cool, feel free to comment on our Facebook page. And next year, while attending one of our shows, disregard that wireless network found on your phone called It’s My Party, that’s just us doing our thing!