Sándor Szabó
/ Balázs Major / Kevin Kastning Trio
Guitarist Sándor Szabó, Orchestral
percussion artist Balázs Major, both of Hungary, and myself will be recording a
trio album in 2008. Sándor and Balázs have recorded a few albums together
over the past 15 years, and perform together in a masterful way. I am
truly flattered and honored to be a part of their artistic world.
Recording sessions have already begun, and details will be posted here as the
project progresses.
Sándor Szabó
& Kevin Kastning Duo
update June 2008
Sandor and I will be back in the recording studio in July 2008. We will be
recording our third album for Greydisc Records. More details coming soon.
Click the thumbnails to view
a larger version.
Szabo-Kastning
KastningSiegfried
Siegfried and I have completed the recording
sessions for what will be our fifth album
together. The mixing sessions are being scheduled, and the new album will be released
on Greydisc Records in 2008. Compositionally, this album will contain some of our most
baroquely-textured
pieces. This album will also feature compositions for the
Santa Cruz DKK-12, fretless classical guitar, and alto guitar. Details will be posted here as they develop.
Carl Clements
Since late December 2005, I have
been in three recording sessions with multi-woodwind musician and composer Carl
Clements. Carl is based in New York City and travels extensively, so
getting our schedules lined up can be a challenge. I have been performing
and recording with Carl for over 22 years now, and our collaborations have
produced some interesting music. These recording sessions are for
Carl's next album (release date TBD). I have done some duet recording
sessions with Carl; as well as some trio recording sessions with myself,
Siegfried, and Carl. For this album, Carl has been playing tenor
saxophone, soprano saxophone, and bansuri (East Indian bamboo flutes). On
the trio sessions, Carl's pieces called for 12-string, so my parts on those were
all performed on 12-string. On the duo recordings, I used the Martin
12-string, as well as the Santa Cruz DKK extended baritone.
We completed the
recording sessions in mid-August 2007, and these were trio
recording sessions with Siegfried.
When
composing, I'm never working on just one composition. I usually work in
parallel on anywhere from two to six or sometimes more pieces simultaneously.
Currently, I'm in the final stages of my String Quartet No. 7, a work in three
movements. At the same time, I am also working on my String Quartet No. 8;
a single-movement work. String Quartet No. 8 is based on some 3-D
illustrations of mine; these illustrations were originally based on dream
imagery. In fact, all of String Quartet No. 8 is build around hexachords. Preliminary sketches for my String Quartets Nos. 9 through 14
are in the works as well. I will post excerpts here as each are completed.
In the past six months or so, I've had inquiries and requests for some
commissions. I will post details and excerpts from these as they develop.
Santa Cruz Guitars:
Kevin Kastning Series
I have begun working with Santa Cruz Guitars on
two more instruments in the KK series. One of which will be far more
experimental and complex than either of the current DKK
instruments. The range(s) covered by this instrument will be much
wider than anything else Santa Cruz has ever built, and much more than any other
KK series. In fact, as far as I know, this instrument will have a wider
range across more registers than any other guitar-family instrument in existence. Specifications, configurations, and, in the case of this
instrument, the difficult and challenging issue of string gauges are all
currently in development. More details coming soon!
Santa Cruz Guitars:
Prototypes and Customs
As an artist endorser for Santa Cruz Guitars, I
often get the rare honor of trying out some fantastic instruments and
providing feedback, input, or suggestions. These are either
experimental
instruments which may or may not become new models in the SCGC catalog, or
well-established SCGC models which are customs in that they might have an
unusual type of back/side tonewood, or a different type of tonewood used for the
top; sometimes both. Photos and specs of these can be found on the
Instruments page under Santa Cruz Customs. In
fact, one such custom instrument was a
Santa Cruz DBB Baritone which I was able to
keep long enough to use in the recording sessions for
Bichromial
(©2004 Greydisc Records). Currently, I am spending some time with a custom
Santa
Cruz 12-fret D. This instrument differs from the production model in a couple of
ways. First, the string spread and taper on this 12-fret D is somewhat unusual.
The nut width is 1 7/8" instead of 1 3/4". This one also has a bridge spread of
2 3/16", instead of the usual 2 5/16". Third, the back and sides on this D are
cocobolo rosewood, instead of the usual mahogany. Fourth, the binding is
also cocobolo; which is rather unusual. My Santa Cruz models have a custom
V-neck profile, which I usually prefer, but on the 1 7/8" nut, I find the "C"
profile, such as is found on the 12-fret D, to be very comfortable indeed. This
instrument has a very rich voice; full and resonant in the bass registers
without being muddy or lacking definition. The bass response on Santa Cruz'
12-fret Ds can be described as "rumbling," like the guitar equivalent of a pipe
organ; yet retains a balanced clarity. This, in my experience, is one of SCGC's (many) strengths: a
12-fret D which retains the definition of a 14-fret D; yet still has the
signature 12-fret D voice, yet never becomes muddy, ill-defined, or allows the
bass register to overpower any other register. For years, I have admired
and felt drawn to the SCGC 12-fret D voice, and there is probably one in my future.
Click the thumbnails to view
a larger version.
2006 Santa Cruz custom
12-fret D
Santa Cruz Guitars:
Second-Generation Tuners
Santa Cruz Guitar Company (SCGC) has updated their tuners for 2007 with the
Santa Cruz Second Generation (Second Gen) tuners. I had been speaking with
SCGC's Dan Roberts about the updated version throughout the re-design process
over the past year or so, as I have been using and loving their first generation
tuners since I received a prototype set on my SCGC OM back in 2003. My favorite
thing about them was the very accurate 18:1 tuning ratio, and I asked Dan to
please retain this feature, no matter what. I have been accused of being an
intonation freak, and the SCGC tuners were the most accurate acoustic instrument
tuners I'd ever used. I am happy to report that the new version do indeed retain
the 18:1 ratio. I recently replaced the First Generation SCGC tuners on the
Santa Cruz DKK and the DKK-12 with a set of the new Second Gen SCGC
tuners.
The First Gen SCGC tuners were really impressive; so much so that I replaced the
Waverly tuners on two of my instruments with them. However, in the true Santa
Cruz spirit of constant refinement, a new version of the tuners is now
available. At first glance, when comparing to the old SCGC tuners, the
differences may not be obvious, but upon closer inspection, the differences
start to make themselves known. The base plate is completely solid now, and the
worm gear is entirely enclosed at the bushings. Unlike Waverlys, the base plate
is cast, not stamped. The tuning action is even more solid than before; yet the
tuner turns as smoothly as ever. Every time I tune using these, I am impressed
all over again. Highly accurate. I will be replacing all my tuners with these,
and very soon. The new Second Generation version of the tuners is an exclusive
Santa Cruz design, and the tuners are available direct from them. My thanks and
congratulations to both Dan and SCGC. Highly recommended!
Click the thumbnails to view
a larger version.
The Santa Cruz
Second-Generation Tuners
Laurent Brondel Guitars
Laurent Brondel is a good friend of mine;
something of a renaissance man, actually. He is a very talented songwriter,
recording artist, producer, engineer, guitarist, and has one of the most unique
and fascinating singing voices
I've ever had the pleasure of hearing. Another one of Laurent's many talents is
that of luthier. I've been enamored of the voice of Laurent's guitars since I
first heard a recording of one. While most of his models are based on, yet not
identical to, time-honored and vintage Martin designs, the tone and voice of a
Laurent Brondel guitar have nothing to do with the voice of a Martin. He also
has some instrument designs which are entirely his own. Laurent
has truly found a unique and beautiful voice in his guitars. The tone is always
well-balanced, full, resonant, and it just sings. Recently, Laurent asked me if
I'd take one of his instruments home with me for a while so as to hear it, play
it, and offer any suggestions. To say that I was flattered and honored is an
understatement, as Laurent knows many fine guitarists. The first one he offered
I happily agreed.
The Laurent Brondel on loan to me is a 14-fret 00, which is based on an old
Martin body type. However, unlike Martin, Laurent has made his 00 with a 1 3/4"
nut, which I find to be much more comfortable and versatile than Martin's 00 nut
width of 1 11/16". Laurent is adventurous in the exploration of alternative
tonewoods in many of his instruments, and the 00 is a fine example of this.
Tonewoods are as follows:
Top: redwood
Back/sides: curly Claro walnut
Neck: Cuban mahogany
Binding: curly maple
Bridge: cocobolo rosewood
Fingerboard and bridge pins: ebony
Overlay: Brazilian rosewood
Many of the small-bodied Martins I've played over the years can often have a
strident or thin tone; sometimes lacking in bass; other times a little too
bright in the upper registers. One of the defining qualities of Laurent's
guitars is a very balanced voice. No matter what the body size or the tonewood
combination, of the Laurent Brondel guitars I've played, I always find them to
have a very balanced voice. The 00 is no exception; yet the voice is a bit
darker than might be expected for a 00; I attribute this to the redwood top. The
tone is very rich, and more resonant that might be expected for a 00. The bass
register is very warm and full for a small-body; yet never boomy or
overpowering.
A nagging thought I had when I had agreed to provide a temporary home for the 00
was in regards to the action. I prefer a rather low action for an acoustic
guitar, and it's not unusual for me to have to do an action adjustment or carve
a new bridge saddle on other guitars before I can really play them.
(DISCLAIMER: I have never had this issue with any of my Santa Cruz guitars, as
Dan Roberts always executes a perfect setup for my action and playing
preferences.) My concerns in this area were all for naught, as the action
was very comfortable right out of the case. And this isn't limited to playing in
first position; the action was comfortable and consistently even right up to the
15th fret. I was impressed. Assisting the right-hand well-being of the 00 is the
neck profile, which I found to be very comfortable; not slim, but full without
being clubby or an impediment. Laurent did a very nice job on the bridge saddle
as well; compensation was good as well as the arch. Fretwork was quite good; all
frets were expertly dressed, and I encountered no rough spots or high/low areas
anywhere.
Workmanship throughout was beautiful. One of Laurent's key tenets for his
instruments is "no plastic," and true to his beliefs, the 00 has no plastic
anywhere. All binding and purfling is wood; curly maple and bloodwood in this
instance. Unlike most acoustic guitar luthiers, the finish is not
nitrocellulose, but is hand-applied short-oil varnish. This provides for an
acoustically transparent finish, and visually, the varnish adds a gentle and
warm glow to the beautiful tonewoods.
I'm not usually a small-body guitar player or aficionado, but this little 00 has
won me over. It a joy to play and hear; as well as being a visual treat. The
headstock and bridge are both of Laurent's own design as well. Anyone looking
for a single luthier with whom to work on a commissioned instrument would do
well to speak with Laurent. I look forward to his next submission!
Click the thumbnails to view
a larger version.
2007 Laurent Brondel 00
Laurent Brondel Guitars; Sumner, Maine USA. Contact Laurent at guitar@laurentbrondel.com.
The Bricasti
M7
One fine New England day in June
2007, I found myself at Bricasti headquarters, as the guest of Brian Zolner and
Casey Dowdell, the two driving forces behind this new company, which is
producing the finest digital reverb I've ever heard. Both gentlemen were
long-time engineers at Lexicon, and Brian was deeply involved with the creation
and design of such recording studio staples as the Lexicon PCM91, the 960L,
M300, and the 480. Brian and Casey are both incredibly knowledgeable and
brilliant; yet so friendly that I was made to feel as if I was an old friend.
I had been invited for a hands-on demo of the new M7. Brian's listening
environment was comprised of a large 4000-series pair of JBL studio monitors
which were tri-amped via six MacIntosh power amps. For sampling and comparison
material, we had various source examples ranging from live recordings of the
Boston Symphony Orchestra recorded in Symphony Hall in Boston, to solo
studio-recorded drums; both in kit and long-spaced individual drums, to a Steely
Dan-ish rhythm section of guitar/bass/drums, to spoken word.
Brian walked me though the controls of the M7 and the presets. Everything is
very logical and intuitive; it wouldn't take long to get up to speed on this
unit; it is not like the PCM91 or other units which almost demand the user have
a copy of the manual in one hand at all times. The layout and functioning of the
controls is very simple; yet a tremendously wide range of control, from the
general tweak to the most granular and molecular is possible.
First up was a comparison of the Bricasti's Boston Symphony Hall preset to the
actual Boston Symphony Hall. This was of paramount interest to me, as I am no
stranger to the acoustical wonders of BostonSymphony Hall. The M7's preset sounded
just a tiny bit brighter in the upper register to me, but when I mentioned this
to Brian, just a tiny tweak made it indistinguishable from the BSO hall. There
are presets for the hall full and empty; both are stunning. Tails die away
cleanly and realistically into blackness. Adding a longer tail or more density
does not degrade or alter the source sound. Shorter hall tails sound clean and
pure; not like un-naturally truncated abbreviations of longer hall settings. No
graininess; no terracing of tails; no ruler-flipped-on-the-edge-of-a-desk
artifacts. The listening location could be moved to various locations in the
hall, with the actual reverb changing to be accurate for that location. Brian
and Casey demonstrated various reverb types, sizes, qualities, presets,
locations, densities, tails, reflections, environments, and made some new user
presets right there in front of me; all were wondrous. Even subtle ambiance
settings sounded so lifelike that going back to the dry original sample made it
sound lifeless and even wrong. Some of the ambiance and small space settings
were so subtle that it was as if they only became palpable when turned off;
adding them made the dry original still seem "dry" as in no effect had been
applied, but as if life had been breathed into it. With the hall and church
presets, the sense of space and realism was very palpable; not once did I feel
as if I was listening to an effect. I felt as if I was in the space, and I have
spent some time in Symphony Hall in Boston.
After listening to the M7 for over three hours, the unit's
stainless steel top was removed. No expense has been spared anywhere. This is a
unit which its owners will no doubt have in their racks for many years to come,
and probably without incident. Casey explained to me the story of how the
converters and op aps were selected; specs were just about ignored. Instead,
every possible chip was auditioned side by side, and the final components were
selected based on sound, regardless of cost. The power supply, which includes a
very solid torroidal transformer, is fan-cooled. I would also like to point out
that only at the end of the listening session did Brian point out the fan to me;
the M7 we had been using was not in a rack, but was on a table in front of us on
a couple of feet away so as to be as accessible as possible for tweaking and
controlling. Music or samples were not constantly on, as we would stop for
questions and/or explanations from time to time, so there were moments of
silence. I did not know of the fan's presence until Brian pointed out that it
had been running the entire time. The front panel is a solid slab of milled and
anodized aluminum, even the buttons for the presets are machined from aluminum.
The input control is a stepped rotary mil-spec type. I point out these
kinds of details because these are examples of how solid and unique the M7 is,
from the sound through to the build quality. Impressive at every turn, and the entire unit is built right here in New England; nothing
has been farmed out.
I could go on and on about the quality of the sound of the M7, but I think the
best way to sum this up would be that, to my ears and in my opinion, everything
leading up to the M7 (Lexicons, TCs, Kurzweils, et. al.) are reverb effects. The
M7 is reverb. Listening will be all the convincing anyone will need.
In an upcoming field trip to Studio Traumwald, Brian will be creating a sample of the studio's natural acoustical environment to be used as a possible preset on a future software upgrade of the M7.
I am now an artist endorser for Bricasti. I will be using the M7 on the mixes of the new KastningSiegfried album. Tandem Records of Vacs, Hungary employed an M7 for the final mix of Resonance.
Enhanced
Audio
I will be working with David Browne of Enhanced Audio in Ireland on some new
recording studio equipment. I am a user of and a fan of David's invention,
the M600 microphone mount, and David is a fan of my music and recordings, and as
such has asked me for input on some new and forthcoming Enhanced Audio hardware.
I'm very honored to be working with David and Enhanced Audio. More details
coming soon.