Recording - November 2011 - 52

to E flat.” So I’ll take the time, and I put it into Logic and I orchestrate it. I added some oboes and all that. It’s such a wonderful feeling to give back. Continued from page 51 No. It was interesting because, when the listing came out, I thought my song “Raindrops and Moonbeams” would be perfect, and I submitted like four different versions of it. I had it with a toy piano, like a music box, and all these other versions, and they were all getting shot down. So I said, “Let me just do just piano.” And I did it, and that’s the version that got forwarded and ultimately placed. Was it an upright piano or a grand? Well, it’s the Steinway Logic, which I tweaked and played on my Yamaha 505. You know, you’re always talking about a simple piano piece, and it did it. What makes it special to me is that I remember the time I heard it without seeing picture. You can hear the thought and emotion in it, you know what I mean? And then I saw it with picture and I thought, “Wow, it’s almost like that beautiful anorexic blonde lady with the white flowing dress and the white flowing curtains in the spot is having a cogent thought.” And it was the music that made her look smart. [laughter] Seriously. I didn’t know my music was so powerful. If any of you are vapid New York City models, I’m sorry if I’ve offended you. But seriously, the music added so much to that spot, and that’s what it’s all about. And what’s so wild about the spot—the whole ad is just music. When I saw it for the first time, I was like, “OK, when are they gonna start talking?” She wasn’t smart enough. I’m sorry. Again, I’m just kidding! I don’t really have anything against New York City models. And then the byline comes in at the end, and it was like, wow, the music carried it through the whole thing. It absolutely does. It literally—and this is not a joke—you can tell what she’s thinking by what you played, and that’s quite an accomplishment. On YouTube, it’s up to like 16,000 views. I can always tell when a new country is seeing it, because the responses come in. I’m getting emails from young people in like the United Kingdom who are music students. They are calling me and emailing me and saying, “Can I have the score, because I want to perform it for a class?” And then we become Facebook buddies. One just sent me over a score because he’s in a composition class and said, “I’m having trouble modulating from F sharp
52

and start recording. You are such a great example. You’ve had kind of this meteoric rise, where it’s just clicked and ba-boom, all kinds of wonderful stuff has happened. Let’s hear some of your music so we know why this happened. [music plays] Any chance I get to put in a guitar solo, I will. Amazing. What had you done musically in your life before you started getting placements? I started my first original band in ’92. We started with the whole hard rock thing with the long hair. We didn’t get signed, obviously. At that point, we did a couple cover things, but you’re always looking toward songwriting and write your own stuff. Because how many times can you play “Brown Eyed Girl”? As many as you have to play to put food on the table. Yes. Actually, my first CD I put out I recorded it on a Roland BS1680. I released that in, I think, 2000, and I worked online. I tried to make connections before I knew about TAXI or even thought about it. I actually did get a placement from that on MTV. But it took a long time to get the contact, and I thought if I could get something recorded on a 1680, then the sky’s the limit at that point. It took a while to try to make those relationships, and that’s when I turned to TAXI. It’s been a godsend, it really has. Thank you. We can’t do what we do without guys like you making great music. I’m so happy for your success. I keep in touch with a lot of these guys because I get so excited for them. I really didn’t know that a simple idea I had 18 years ago would so many change lives. One day my wife said, “You got a phone call from Michael.” And I was blown away because he called me. I’m thinking, wow, the owner of TAXI is calling me. Is it time for a renewal? [laughter] My credit card number is…. Hold on. But, I mean, that speaks volumes, it really does. Congratulations for all your success. I have no doubt that you’ll do this for the rest of your life. Thanks Keith. Keith LuBrant, ladies and gentlemen! [Applause] This is Gary Piatt, who obviously has a fan club out there. Tell us about the piece of music we’re gonna hear. This piece of music was inspired by a very Continued on page 55

You know what? There’s that generosity word again. Remember my opening remarks? Bob, you are what defines the Road Rally. Thank you and congratulations. I’m very proud of you. This is Keith LuBrant. I’m gonna have you read your own letter. I’ll get choked up if I do it. I got this letter some months ago, and it’s just… [Keith, reading his letter] “If there’s any possible way, please let Michael Laskow know how much I appreciate what he’s done, and that he should feel proud about what the company has been able to accomplish. You know, I was a skeptic when I first joined. I honestly thought TAXI was a scam and figured I’d get my money back once I saw the proof.” You won’t be the first who thought that, trust me. [laughter] [Continues reading the letter] “But I’ve been pretty successful since I joined and have been happily proven wrong. I’ve heard that people think TAXI stinks because their songs never get a forward or a deal, you know, but that should be a red flag and make us look at all our music with an open mind and ask ‘Why?’ Why didn’t we get the forward or the deal? It could just be a genre that is not popular for TV or film, or it could be the song itself, or the recording. None of us musicians want to hear that our music is subpar, but that is why TAXI shines, they will tell you, and that is more important than your 42 friends saying that your song rocks.”

“If I am writing songs or cues for television requested by a company I’m signed with, I try to turn it around within 24 hours. Presentation goes a long way.” —Keith LuBrant
“Once you get that forward, your job is not done. I know with me it’s all about presentation. If a company calls me to sign a song, I return what they ask for right away. If I am writing songs or cues for television requested by a company I’m signed with, I try to turn it around within 24 hours. How we present ourselves goes a long way. I think that is an important lesson also.” Thank you for that Keith. Thank you. I have to say that I almost wasn’t here, because after the first day of the Rally I was so inspired I wanted to fly back home



Recording - November 2011

Table of Contents for the Digital Edition of Recording - November 2011

Recording - November 2011
Fade In
Contents
Talkback
Fast Forward
PreSonus StudioLive 16.0.2
Mixing And The Stereo Field
TASCAM US-2000 USB 2.0 Audio Interface
The Mixing Workshop: Better Mixes Through Creative Editing—Part 1
Roll Music RMS216 Folcrom
Sonnox Fraunhofer Pro-Codec
How To Be Successful In Today’s Music Business—Part 1
Plug-In Outlet
Mid-Side Stereo Recording
iOS Music Tools: For Composers
For Your Bookshelf
Organize Your Mix Session
Reviewed And Revisited: iZotope RX 2
Shure SRH940 Headphones
Readers’ Tapes
Advertiser Index
Fade Out
Recording - November 2011 - Recording - November 2011
Recording - November 2011 - Cover2
Recording - November 2011 - 1
Recording - November 2011 - Fade In
Recording - November 2011 - 3
Recording - November 2011 - Contents
Recording - November 2011 - 5
Recording - November 2011 - Talkback
Recording - November 2011 - 7
Recording - November 2011 - Fast Forward
Recording - November 2011 - 9
Recording - November 2011 - 10
Recording - November 2011 - 11
Recording - November 2011 - PreSonus StudioLive 16.0.2
Recording - November 2011 - 13
Recording - November 2011 - 14
Recording - November 2011 - 15
Recording - November 2011 - Mixing And The Stereo Field
Recording - November 2011 - 17
Recording - November 2011 - 18
Recording - November 2011 - 19
Recording - November 2011 - TASCAM US-2000 USB 2.0 Audio Interface
Recording - November 2011 - 21
Recording - November 2011 - The Mixing Workshop: Better Mixes Through Creative Editing—Part 1
Recording - November 2011 - 23
Recording - November 2011 - 24
Recording - November 2011 - 25
Recording - November 2011 - Roll Music RMS216 Folcrom
Recording - November 2011 - 27
Recording - November 2011 - Sonnox Fraunhofer Pro-Codec
Recording - November 2011 - 29
Recording - November 2011 - How To Be Successful In Today’s Music Business—Part 1
Recording - November 2011 - 31
Recording - November 2011 - 32
Recording - November 2011 - 33
Recording - November 2011 - 34
Recording - November 2011 - 35
Recording - November 2011 - 36
Recording - November 2011 - 37
Recording - November 2011 - Plug-In Outlet
Recording - November 2011 - 39
Recording - November 2011 - Mid-Side Stereo Recording
Recording - November 2011 - 41
Recording - November 2011 - 42
Recording - November 2011 - 43
Recording - November 2011 - iOS Music Tools: For Composers
Recording - November 2011 - 45
Recording - November 2011 - 46
Recording - November 2011 - 47
Recording - November 2011 - 48
Recording - November 2011 - 49
Recording - November 2011 - For Your Bookshelf
Recording - November 2011 - 51
Recording - November 2011 - 52
Recording - November 2011 - 53
Recording - November 2011 - 54
Recording - November 2011 - 55
Recording - November 2011 - Organize Your Mix Session
Recording - November 2011 - 57
Recording - November 2011 - Reviewed And Revisited: iZotope RX 2
Recording - November 2011 - 59
Recording - November 2011 - 60
Recording - November 2011 - 61
Recording - November 2011 - Shure SRH940 Headphones
Recording - November 2011 - 63
Recording - November 2011 - Readers’ Tapes
Recording - November 2011 - Advertiser Index
Recording - November 2011 - 66
Recording - November 2011 - 67
Recording - November 2011 - 68
Recording - November 2011 - 69
Recording - November 2011 - 70
Recording - November 2011 - 71
Recording - November 2011 - Fade Out
Recording - November 2011 - Cover3
Recording - November 2011 - Cover4
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