marc loehrwald

Forced perspective by ho1gersson

via seanbonner

maclove:

ex-genius:

Fun with Remote Desktop. Totally worth it. 

edit - for those who asked, this is the code used:

#!/bin/bash
count="0"
while [[ $count -lt 11 ]]
do
osascript -e "set Volume $count"
say "Must. Kill. All. Humans."
count=`expr $count + 1`
done
exit 0

I’ve Got a Bad Feeling About This…

Ich mag das ja immer noch! :-)

An der Elbe (by loehrwald)

Orrin Keepnews, Producer, the Podcast series from the Concord Music Group presents “Sunday at the Village Vanguard,” featuring the famed Jazz producer’s memories of Bill Evans’ 1961 Riverside Records recording. 

Sunday at the Village Vanguard - Bill Evans (via JazzVideoGuy)

Gravity - if you cannot understand it, why use it!

(via laureola: backeis : geekhideout)

iPhone 4 unlocked (by loehrwald)

iPhone 4 arrived (by loehrwald)

TNT from China to France
02 Jul 2010 01:03:52 Shenzhen Sendung Wurde Beim Versender Abgeholt
02 Jul 2010 10:04:30 Shenzhen Sendung Wurde Weitergeleitet
02 Jul 2010 12:43:00 Shenzhen Sendung Wurde Von Der Abgangsniederlassung Weitergeleitet
02 Jul 2010 15:00:14 Hong Kong Sendung In Der Umschlagbasis Eingetroffen
02 Jul 2010 17:00:00 Shenzhen Mögliche Verzögerung In Der Weiterleitung - Vorgang In Klärung
03 Jul 2010 09:12:46 Hong Kong Sendung Wurde Weitergeleitet
05 Jul 2010 15:16:14 Arnhem Hub Sendung Wurde Weitergeleitet
06 Jul 2010 03:22:04 Liege Euro Hub Sendung Liegt Am Umschlagpunkt Zur Weiterleitung Bereit
06 Jul 2010 07:43:05 Marseille Sendung In Der Umschlagbasis Eingetroffen
06 Jul 2010 07:43:07 Marseille Sendung Wurde Weitergeleitet
06 Jul 2010 11:08:33 MPL Sendung In Der Zustellniederlassung Eingetroffen
06 Jul 2010 11:09:56 MPL Sendung Wird Zugestellt
06 Jul 2010 13:59:00 MPL Sendung Wurde Zugestellt

Then continuing with UPS
DE 06/07/2010 8:23 BILLING INFORMATION RECEIVED
MONTPELLIER, FR 07/07/2010 15:12 COLLECTION SCAN
MONTPELLIER, FR 07/07/2010 19:15 DEPARTURE SCAN
MARSEILLE, FR 07/07/2010 21:01 ARRIVAL SCAN
MARSEILLE, FR 07/07/2010 21:15 DEPARTURE SCAN
MARIGNANE, FR 07/07/2010 21:25 ARRIVAL SCAN
MARSEILLE, FR 07/07/2010 21:30 DEPARTURE SCAN
MARIGNANE, FR 07/07/2010 21:35 ARRIVAL SCAN
MARIGNANE, FR 07/07/2010 22:00 DEPARTURE SCAN
KOELN (COLOGNE), DE 07/07/2010 23:29 ARRIVAL SCAN
KOELN (COLOGNE), DE 08/07/2010 0:08 IMPORT SCAN
KOELN (COLOGNE), DE 08/07/2010 1:39 DEPARTURE SCAN
HAMBURG, DE 08/07/2010 5:54 ARRIVAL SCAN
HAMBURG, DE 08/07/2010 6:05 OUT FOR DELIVERY
HAMBURG, DE 08/07/2010 10:23 DELIVERY

Bob Reynolds doing a Timbaland thing.

Großartig, wie immer!!!

Schön wär’s!

maclove:THE DAY I’VE BEEN WAITING FOR…

It’s interesting how technology evolves:

2000
iMac
Operating System - Mac OS 9.0.4
Processor - 500 MHz PowerPC G3 CPU, 128MB Memory
Graphics - ATI Rage 128 Pro, 8MB of memory (8 million triangles)
Screen - 786K pixels
Data Transfer Speeds - 1.3-12.5 MB/s (DVD-ROM-1/100 Ethernet)
Storage - 30GB Hard Drive
Dimensions - 15.0 x 15.0 x 17.1 inches
Weight - 34.7 pounds

2010
iPhone 4
Operating System - iOS 4.0
Processor - 1 Ghz ARM A4 CPU, 512MB Memory
Graphics - PowerVR SGX 535, uses system memory (28 million triangles)
Screen - 614K pixels
Data Transfer Speeds - .04-20MB/s (3G-WiFi)
Storage - 32GB Flash Drive
Dimensions - 4.5 x 2.31 x .31 inches
Weight - 4.8 ounces

• “Technique” is primarily how you do something, not just how fast you so something.
• Find places to play with, hear, meet and study with musicians who create/perform music the way you’d someday like to.
• Soft music should have the same intensity as music played loudly, only it should sound very far away.
• Listen more closely to the sounds around you than forcing your sound on everyone around you. A variation on this idea: seek to understand, then seek to be understood.
• Seemlingly complicated tasks often turn out to be a series of simple tasks.
• Practice in order to make playing music on your instrument easier and more natural. Strive for the simple solutions, they tend to “stick” better.
• Your tongue should ride a continuous flow of air.
•  LET the music happen when you play. Consider yourself a free-flowing conduit for Music, not necessarily some vessel containing some mysterious untapped “source” of that music.
• Remember to practice “simple” things with a commitment to their performance, not just as a part of your “warm up”.
• Great players are easily identified by one or two notes.
• Practice listening. Listen for the “inside” sounds. Listen to bass lines, counter melodies, percussion parts etc, etc. How does it all fit together? Sing what you hear, write things down occasionally. Commit to always being a better listener—this skill might save your life one day; musically and/or otherwise!
• Play this little game every day:
            Hear it—->Sing it—->Buzz it——>Play it
• Play relaxed. Let tension go. Take inventory of tension every 15 minutes of every practice session. TAKE BREAKS!! Think of breaks as a part of your routine. Your body needs to re-boot once in a while! “Breathe” your way into a more relaxed state.
• “Perform” when you practice. Imagine yourself performing every note for a critical audience. Tape record yourself occasionally to create this environment.
• Developing skills as a brass instrumentalist is more about developing co-ordination than just building strength. Endurance is a combination of co-ordination and strength.
• Airflow is mainly constant from register to register. The direction and the volume of that airstream are the most important ways the air changes in and out of each register.
• Play everything with a sense of time, even rubato.
• Warm air and cool air each has its own place in music.
• The note starts in the air and lips, not the tongue. The tongue is the time-keeper.
• Project sound/music at all times, and at all dynamics.
• Your breath when you play should approximate your breath when you are NOT playing.
• Play everything with “IN-tention”, not “in TENSION”!
• Blow THROUGH every note, not just FROM note to note.
• Strive to communicate something in a group of notes [phrases], tell stories in sound.
• Be curious. Try new musical ideas for the heck of it. Switch an etude into different keys/clefs. Shift your warm ups and scale practice an eighth note earlier/later. Does “stacatto” in a Brahms Symphony mean the same thing as “stacatto” in a Sammy Nestico big band chart? Don’t be afraid to ask “why?”, “what if” and “why NOT”?
• On unison passages, listen more closely to your neighbors than to yourself.
• Be a time-keeper. Don’t totally rely on conductors, metronomes and rhythm sections. Be more PRO-ACTIVE with time, less RE-ACTIVE.
• Be in the flow of the music even when you are not playing at a given time in a piece. Consider yourself as a part of the musical flow even when you are not playing, the more into that flow you will be when you do play. Trombone sections are often late because they are not IN the music coming out of rests. Be your own “rhythm section”.
• Music is a language. Scales and chords are its vocabulary. Melodies are its sentences.  Great pieces of music are prose and literature.

Photograph of F (via loehrwald)

Probe Photograph of F (via loehrwald)

Fotos von unserem Abend im Schmidt.

Knallertkørsel forbudt (by loehrwald)

Achtung, hier wird Zauber gemacht (by loehrwald)

parislemon:tedr:richardfuckingalpert:lefay:onlyechoes:crystalchain:deardarkness:

HORST J. GONZALES & DAS ORIGINAL-TIVOLI-ORCHESTER

„Sklaven von Rhythmus und Lust“
Montag, 10.5.2010 um 20:00 im Schmidt Theater

hawaiitwentyten haben es gerade gut! :-)

wrenchmonkees.com

Beast of Burden | International Travelall « A Continuous Lean.

Untitled Document

Get off my Road!!! (via loehrwald)

Normally they tell us, that Nexus One isn’t available in this country. Are they getting ready to give it to us, finally???

google.com/phone seen from LU (via loehrwald)

am 10.05.2010 im Schmidt Theater!

rocketboom:

Hey Okay » Sorry for your loss!

Heisse Ecke (via loehrwald)

dwineman:

Me: (tries to visit a local restaurant’s website via iPhone)
Restaurant website: I require Flash. Fuck off.
Me: I just want to know how late you’re open.
Website: Nope.
Me: But I’m on my phone. Don’t you have a little “HTML Version” link up in the corner or something?
Website: I’m ignoring you.
Me: What if I’m on my phone because I’m out, looking for a place to eat? Didn’t that ever occur to you?
Website: Fuck entirely off.
Me: (gives up, switches to computer)
Website: Oh! Hi! What can I help you with today?
Me: What are your —
Website: Hang on, I’m loading the music.
Me: Really.
Website: You’ll love it. It’s “Girl from Ipanema” arranged for steel drum and keytar.
Me: No, you don’t have to —
Website: Loading…
Me: All I want is —
Website: I SAID DOT DOT DOT.
Me: (drums fingers on desk)
Website: There we go. Isn’t that nice? It’s… what’s the word. Ethnicky.
Me: What are your hours?
Website: Take a look at our menu! It’s a PDF of a screenshot of a scan of a Word document printed on a dishtowel. With fonts!
Me: I don’t care. What are your hours?
Website: Don’t worry, the menu loads in a new window so the music won’t stop. Can I show you some broken images?
Me: What. Are. Your. Hou. Rs.
Website: I… I don’t know.
Me: (goes to Denny’s)

Icy Ride (via max_hh)

The secret lair of Hans Zimmer, from where he inspires the world (via Stuck in Customs)

Immer noch Schnee (via max_hh)

Want one! :-)

Google Nexus One unboxing and hands-on - Engadget Galleries

rocketboom:

Security Theater

Energie St. Pauli: Der Schatto-Pauli-Song

EI-DWL Weeze (via max_hh)

Mr. Cucciniello, co-owner of a linen supply company here, is the proud proprietor of three beautiful old Mercedes-Benz diesels: a 1979 300D, a 1983 300SD and a 1985 300D. The cars have already logged an average of 170,000 miles apiece, and Mr. Cucciniello reckons that together they have a million more to go. (via Auto Ego - Mercedes-Benz 300D - He’s in It for the Long Run - NYTimes.com

)

NICHTLUSTIG

Frank Vignola and Ken Peplowski - Tiger Rag (via VinnyRaniolo)

November 27th, 2009

Several days visiting my father in Charleston, SC has allowed me the time to explore the edges of my technique. Relishing the open schedule, and sunny warmth of South Carolina, I had a great practice session yesterday. I always begin with slow scales.

Slow scales (quarter notes @ 60 or slower) allow one to connect all ranges of the instrument with full, legato air, smooth fingers moving “on the air”, and to standardize voicing through out the ranges. I start with mezzo-forte to warm up, and then mix in some forte and pianissimo. I often add some extremely legato tonguing, to test tongue position and tonguing “on the air”.

After moving through half the circle of keys, I switched to broken scales, in sixteenths, and also sextuplets. Broken scales are a great way to focus finger motions and fine tune concentration. Playing broken scales (both in groups of 4 and 3) without music is excellent for finger/mind concentration.

I then moved to measured trill exercises with a metronome, at least one for each finger motion. Starting slowly, half notes, and moving through all rhythms, to 32nd notes, making sure to keep the pulse clear without tensing the hand or the body. Measured trill exercises are one of the best ways to develop finger discipline, and also to develop subtle awareness of high speed finger rhythm and pulse. Staying aware of the beginning of each group of 32nd can be tricky at high speeds. Try not to accent to hear the note better. Play at a softer dynamic and “tune” your ear into the rhythm and notes to keep track of the number of motions. I also switch beginning notes to the top one (instead of the bottom one) to emphasize the other note pulse.

During all this, I work (but you don’t have to) on circular breathing, quality of breathing, voicing, embouchure, extreme high range. The main goal is pure legato and even-ness of tone throughout the range.

David’s Post

WBGO Photoblog » Snooky Young and Frank Wess