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FCDC circa 1970

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Mystic said:
http://www.youtube.com/watch?v=qw7e_qvPgks

When you're weary, feeling small
When tears are in your eyes
I will dry them all

I'm on your side
Oh when times get rough
And friends just can't be found

Like a bridge over troubled water
I will lay me down
Like a bridge over troubled water
I will lay me down

When you're down and out
When you're on the street
When evening falls so hard, I will comfort you

I'll take your part
Oh, when darkness comes
And pain is all around

Like a bridge over troubled water
I will ease your mind
Like a bridge over troubled water
I will ease your mind

Sail on silver girl, sail on by
Your time has come to shine
All your dreams are on their way
See how they shine

Oh, if you need a friend
I'm sailing right behind

Like a bridge over troubled water
I will ease your mind
Like a bridge over troubled water
I will ease your mind
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all right mystic...

if i haven't pushed you to where you're willing to sign my death warrant yet, this post should do it...

what?

you're in love with her voice?

this chick doesn't have a voice

linda rondstat has a voice

anne murray has a voice

billy holliday REALLY!!! has a voice

when a female vocalist has a voice it carries the melody AND the lyric. you believe what she says even it contradicts the lyric of her last hit...

this chick has a very, very, good set of pipes which she is trained to operate with some accuracy but she doesn't convince me she even understands the lyric...
 
now if someone will just lay my death warrant in front of mystic and offer him a pen i'm sure he'll say "screw the pen! gimme a pin to prick my finger and i'll sign in blood!"
 
Mystic said:
Hey, Winnie the Cello, did you know: http://en.wikipedia.org/wiki/Anthony_Johnson_(colonist)
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Hey that is on the eastern shore, that penninsula hanging down from Maryland. The Pungoteague river I know; Nassawaddox is a town on the penninsula. My wife was born in Nassawaddox, later moved to Somerset County, where this guy also had land. Ha, very interesting because I know these areas.
 
Man o man, Winnie. I remember the first time I heard Luddie's 7th. The hi-fi industry was having a ball expanding and I was going with it. This was in the 1950s. When that 3rd movement hit I was already a limp dishrag, just deliciously overcome by the power and beauty, and when the first forte fortissimo passage hit, OH MY GAWHDE, YOUR GAWHDE and everyone else's GAWHDE! The soul excitement was quite, quite beyond my comprehension. Wheeeeeeeeeeeeeeeeeeeeeeeeeeeeee

Here tis: http://www.youtube.com/watch?v=Td3mRRne39I
 
OK Mystic. This A=432 stuff has me really whacked. I listened to your youtube, and tried to match the pitch on cello. It was excruciating, and I am quite used to adjusting pitch to fit circumstances. Then I took my trusty Deagan/Chicago A=440 tuning fork and placed it agains mine ear and wow was there a throbbing against your 432. "Beats," we call it.

This whole thing is a bit esoteric, because I submit they could have performed the same thing just here with A=440 and the effect would be about the same. What I am saying is the choice of voice, gongs, electronic synthesizer, and other sounds produces the effect, not the pitch. But I am sure there are quite adamant contrarians out there who swear by their "findings."
 
Winston Smith said:
OK Mystic. This A=432 stuff has me really whacked. I listened to your youtube, and tried to match the pitch on cello. It was excruciating, and I am quite used to adjusting pitch to fit circumstances. Then I took my trusty Deagan/Chicago A=440 tuning fork and placed it agains mine ear and wow was there a throbbing against your 432. "Beats," we call it.

This whole thing is a bit esoteric, because I submit they could have performed the same thing just hear with A=440 and the effect would be about the same. What I am saying is the choice of voice, gongs, electronic synthesizer, and other sounds produces the effect, not the pitch. But I am sure there are quite adamant contrarians out there who swear by their "findings."
Click to expand...

:biglove:

A man after my own heart. I thought to use a tuner to try to isolate the frequency on those files, but had not gotten around to it, and had thought it might be fruitless given the tremendous number of overtones I could hear.
 
Udarnik said:
:biglove:

A man after my own heart. I thought to use a tuner to try to isolate the frequency on those files, but had not gotten around to it, and had thought it might be fruitless given the tremendous number of overtones I could hear.
Click to expand...

You should put a tuning fork next to your ear, activating it before you start that clip, and it is jarring. I can hardly isolate what I would call that pitch, other than a very slightly flat A. It isn't even an A flat, sharper than that. Given that the fingerboard is a vast expanse of possibilities in pitch, string players are always listening, listening in our sleep even. Kind of second nature to adjust, but that damned pitch was almost impossible for me to get used to. In other words not a pitch we would ever play unless the damned oboe forced it upon us.
 
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Winston Smith said:
OK Mystic. This A=432 stuff has me really whacked. I listened to your youtube, and tried to match the pitch on cello. It was excruciating, and I am quite used to adjusting pitch to fit circumstances. Then I took my trusty Deagan/Chicago A=440 tuning fork and placed it agains mine ear and wow was there a throbbing against your 432. "Beats," we call it.

This whole thing is a bit esoteric, because I submit they could have performed the same thing just here with A=440 and the effect would be about the same. What I am saying is the choice of voice, gongs, electronic synthesizer, and other sounds produces the effect, not the pitch. But I am sure there are quite adamant contrarians out there who swear by their "findings."
Click to expand...

you know the tuning fork does make an exquisite metaphor for "OT"...
 
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