Creative Cribs: Nathan Barr Composer of 'The Americans'

Creative Cribs: Nathan Barr Composer of 'The Americans'

hi I'm Nathan bar I'm a film and television composer and I'm happy to welcome Spitfire to my studio today I just finished this 8,500 square foot recording studio about a month ago and so I'm just happy to show you around this is the writing room control room and this studio was really important for me to go with like the vibe of it there's a lot of studios that are sort of very utilitarian and industrial and aesthetically they don't inspire me so I really worked very hard to to turn this into a place with a lot of vibe you can see this back wall here which is a diffusion wall and rather than go with your typical diffusion panels we decided to do books which I thought was a really had a great feel to it so there are 66% of this wall needed to be diffused so we use different books and you can actually order books by the foot so we I said I wanted 66% however many feet that was 1850 to 1950 books and then they come in the mail and you just stack them up and we works at our couse titian and it's not so carefully you can't move a book around or anything but it does have a really great effect and then this couch we've had probably 12 people on this couch before which is pretty cool so it has a very very fun vibe and then this is the sort of everything is oriented this way the stage is there through that on the other side of that shade so that's where we record Orchestra or whatever we're doing well we really felt like it wanted to be film and television studio first so when people come in producers they can watch the picture here now I'm gonna go notice I didn't put in a big console I thought long and hard about that and I decided I didn't want to do like a big console I think the way plugs are working these days and a bit of outboard gear milania HP 3ds which are great preamps will rent in some preamps mics and then do everything else in the box it was a really good way to go and then what's cool about this desk is the keyboard will pull out I can play and then just push it back in order editing and it just makes the focal point then whatever's going on here and it can be why it's my composing studio but at the same time we go we're gonna be mixing or anything we can sort of put that away and forget about it and then I have a pretty bad back so we also made this put it on hydraulics so we can bring that up nicely and so we can sort of divide the day between sitting and standing and this obviously standing is not optimal in terms of speaker position but when we're sitting we found this sort of the sweet spot so we're sitting with these BMW speakers we've got a 5-1 surround here and then a sub stop back there so it's yes it's very comfortable and easy to work in and then I have my guitar wall this is one of my first guitar so I was a kid and I went to Fat Tuesday this is where Les Paul used to play and got him to sign it so you could kind of bring your guitar down there as a kid and he would sign it for you and then this is a Schecter given to me very generously by my friend Tyler Bates and signed by Billy Gibbons who used it on score years ago and that's it's a baritone guitar has a great sound then this is a guitar I go to a lot segrete Chet Atkins model and then this is a very unusual guitar it's made by Gilchrist and he's a mandolin maker and he makes four guitars a year so it's a really beautiful archtop guitar I'm a tough mandolin and then this is super unusual this is a one-of-a-kind it's called a guitar on key and it's it can be played like a guitar or like a cello you'd hold it like a cello it's hence the weird shape and then it's got all these sympathetic strings on it I'd have to work with it a bit to get it playable but it does have a really cool sound to it and I believe it was one of I'm gonna show you another instrument later that Fred Carlson built we built this but as you can see it's a really gorgeous instrument let me show you a couple other things so this is a nickel harpa which is a Swedish fiddle of of a design that's many hundreds of years old maybe even a thousand years old there's a really beautiful sound as you can see there are sympathetic strings there are four in between each of your melody strings and then you've got these tabs or these keys by pressing the string where you want to play there's a really beautiful sound it's like a sort of a more resonant fiddle because of these strings it sounds like you're in a big hall and that's something I use quite a bit this is a hurdy-gurdy so it's got a wheel this wood wheel that spins and plays these chanter strings and then you've got sort of a option of three drone strings you can engage with the wheel or not if you basically took this if this and that Nicola Harper made a baby I'll show you what that would look like and why on my stage another unusual instrument the last one in here is that's a human bone trumpet so that's actually from Tibet it's probably 200 years old and it's a femur it's a human femur and it makes a pretty crazy sound that requires a lot of effects it wasn't meant to be sort of a super musical thing but some monks when they passed away I had their bones made into relics and so trumpets or skullcap percussion this is just a funny thing among all these books we got all these interesting random books as songs of all colleges from like 1902 almost every song starts with a fourth totally bizarre so this is the scoring stage we have a big airlock in here so we're completely isolated from the outside and this entire room is floating so that there's no worry of ice any sound coming in from the outside and this this room really started for me I started thinking about a room like this 20 years ago when I first came to Los Angeles to do this I wanted a big beautiful room that I could record solo cello in or piano or whatever and just to play sort of a playground like a big playground and it was incredibly complicated to get it right because we had to get it right for this organ right here which I'll show you in a moment the ceilings are a 24 feet high at their highest point it's about 50 feet by 32 feet wide for house to the clock and it's walls you recorded Orchestra in here we had 34 strings and then we did 11 brass Oregon and harp and we could probably easily get 50 a 50-piece orchestra in here which will do at some point when the right project comes along not a bad place to come to work at every day we have basically mics set up in different places and I'll sort of bounce around from from place to place and we'll record a bit we bring a big TV in here so I can just watch picture this is sort of that instrument I referenced before built by that lousier so really unusual instrument I guess I was inspired to have it built and then Fred Carlson actually built it and I told him I wanted a cello that accompanied itself with the drone cuz I love drones it's a five string cello and then you have ten sympathetic strings here and then what makes this so incredibly unusual is the fact that it has a mechanical drone on it so if I engage this pedal it'll play this on the road and that's like a hurdy-gurdy wheel right there for some wood we all that space and you have four strings that you can bring it to contact with the wheel [Applause] that's a really cool sound I love this it took him four years to build because anytime he put a motor on the on the body it wanted to accentuate the the pitch of the motor and so what he did brilliantly he found this robotic motor which is speed variable and so you can actually hide the sound of the motor behind the strings whichever one you want so currently this is a G drum and so basically we have a I've basically turned this variable speed pitch until the motor gets to about a G and it's barely you can barely hear it but it really ties it nicely so you don't hear it at all by just drone [Applause] you listen really carefully there's you can hear the the motor sort of be the pitch the motor changing so now that's California black walnut which is a really unusual wood to use for a cello and then Sitka spruce top and then this little dude at the top was hand-carved it's based on a walking stick at the Louvre that we saw and Fred carved had one shot at it with this piece of wood to carve it's like this little puck that's thought that was kind of fun the focal point of this whole studio is this organ over here this entire building only exists because of this organ basically I sort of tumbled down this rabbit hole about seven years ago when I found that out that this was still in existence so basically back in the 20s all the big studios had pipe organs on their scoring stages the universal had one paramount had one Warner Brothers had one so this was installed at Fox Studios in 1928 it was built expressly for Fox for the scoring stage and I had it completely restored and I obviously became completely obsessed with it to have put this amount of effort and everything else into it basically I had the whole console completely restored there was like actually a chord chart scratched in the lacquer here when I first got it it did not look like this it's got all the original keys which is very unusual for an organ of this age and basically it's an orchestra so these these instruments were designed to accompany silent films once you got past the idea of a piano or an orchestra playing to silent film you got to this and this was sort of the Rolls Royce of a way to score films [Applause] and it basically put an entire early synth Orchestra at the hands of one organist who could sit down and engage all these different stops in order to create the sound of an orchestra as close as they could in the 20s and as I explained this is like just the remote control for the Oregon this does not make any music itself all the music is made up behind that wall there are actually five rooms up there and there's 1366 pipes up up in those walls and this is the control for those and it's got a really amazing sound so if I press on this pedal these pedals you can look up there and see that they they open and close the shutters and that's that's basically a way of allowing more volume into the room or less volume into the room because the pipe is either on or off so the only way to get make it louder softer is to put something between you and the pipes and open and close those and then there's a lot of percussion I'm gonna have my friend Mark do this but so you have one of the things that really differentiates a cedar organ from church organs is you have a whole room here packed full of percussion bass drum snare drum tuned sleigh bells Isla Fong Watkins Beale there's an actual piano that's a part of this organ and so it just gave you even more ability it's a really a company a silent film in an amazing way and this organ is the organ you hear in the sound of music the wedding scene Jerry Goldsmith used it in Star Trek patent the omen to a bunch of others John Williams used it at least five times Empire the song which is an Eastwick home alone bernard herrmann used it in The Day the Earth Stood Still so it has this incredibly rich history which is partly why I was so excited about seeing it restored and give it a home it's it's sort of it's it's a part of the earliest film music which is so cool and so uh I want to bring my friend Marc in to to demonstrate it this is Mark Harmon like Nate said it's it's an entire symphony really so you have all sorts of imitative instruments like for instance here is a clarinet 61 pipes that sound like clarinets for different pitches where you have for instance trumpets [Applause] a tuba and all percussion sounds and they all sort of come together to create this Rory our Kestrel sound you have these pipes that sort of give the effect of strings [Applause] flutes and when you put it all together it really creates a very simple on of sound so one of the things I added to this was a piano an actual upright piano so when you order it an organ from Wurlitzer or some of the other companies back in the day you could actually tick off that you wanted a piano as a part of the organ and then the piano would mechanically play from the console and and I really like the sound of a piano with the organ I felt like it was a good texture to have so we put an upright piano in that corner which is built originally for the Portland paramount and I found it had it restored and then Mark can actually play that from from the organ console here so basically this piano this is this is a series of magnets and it's vacuum pressure so basically electricity wind and and Magnus is how it plays and then there's this thing called the mandolin bar here which mark can drop up and down with the press of a button and and it has these little sort of metal pieces on the end that that fall down and in between the hammer and the string and then you get that sort of tack piano sound you want to play nice yeah I guess I can take you up now and show you sort of what the instrument is so this instrument occupies six rooms requires six rooms not including the room or standing in which is the room you listen to it in and so up in these walls is 1366 pipes but a bunch of other stuff that I can show you and this entire area is floating free of the building as well so this this is sort of like the case for the organ so we've got a spiral stair that goes up to the pipe to where all the music is made and then down here is where all the mechanical bits are so basically this is where all the air is routed before it goes up to the pipes so all these regulators here regulate pressure when these sprays these one of these is sending a different pressure column of air up to a set of pipes we're standing under about eight hundred pipes right now and then these each of these boxes creates vibrato and everything you see is from 1928 some originals gnorga and all of this was at Fox Studios with the rest of the organ so when you buy the organ and they bought the organ all this came with it so in here so I'm gonna take this lid off of this box and inside here is what creates vibrato this is the way you create for broto with the theatre organ it has a lid in here that's bouncing the air goes in and pushes the lid up and a couple of weights push the lift down and that fluctuation fluctuates the air pressure and that's how you create parado pipe so there are one two three four four of these in this room five actually just one of us – and this is there's a little bit of black magic that goes into making these work properly and often times it's the length of distance this these tip from the pipes the chests where the pipes are so that one needed to be this one needs to be quite far away you can see this wind line here in order to get it to work just right and this is what distinguishes sort of the master organ builders and restores from the layman knowledge of how to do this and the gentlemen can crawl whoo I bought this organ from it and restored it is one of the Masters of this with his team but you can hear this a lot of mechanical noise which you don't want to hear on the stage I really wanted this to be a recording organ so the walls are super thick there's two layers of drywall one layer sheetrock special insulation special framing so truly when you turn this on and you're standing on the stage completely silent you don't hear any of this when this was at Fox all of this stuff was upstairs with the with the pipes so it was quite a noisy organ you'd turn it on even before you started playing the music you'd hear all this this noise that's this room and now we'll go upstairs which is where all the music is made all the musical elements so the first room I will show you is where all the percussion is and this is what really differentiates this from a church organ watch your head so as you can see amazing room full of instruments all original to the organ you have a marimba here back here we have cathedral chimes and then over here we have actually tuned sleigh bells so there's leather straps on the other side of this action they have sleigh bells attached to them and then that shakes up and down with the pneumatic and that's how you have these two sleigh bells if you look down here you can kind of see them bouncing up and down then this is a box that was made just to make the sound of the surf of an oceans and then the this is a Wurlitzer called DISA Christa cloth but it's it's really a chalice and then behind each one of these ours is a little resonator and there's a disc that you can engage to spin and vibrates the air behind the bar and that's how you create a microphone then we have a dog it's one of the things I added to this room that wasn't originally a part of it [Applause] and then up here we have wind chimes which again are triggered from the console and then here we have a glockenspiel and so this is a this is a xylophone karate exile phone you can see all the beaters here the mallets this entire shelf here is all the percussion and Foley for the organ so this is a acme siren so this is what's one of the little whistles that you'd have when you hear that phrase all the bells and whistles that refers to a theatre organ here's the police whistle right here here is a police siren if you look up here this looks like two coconuts when we activate that from the console you get the sound of a a horse and then you've got a little reservoir up here filled with oil and when you put a whistle into the oil it bubbles through changes the pitch makes the sound of a bird and then if you look up to the very top there I added a slide whistle so I thought it was just an amazing piece of mechanical engineering to actually take a real slide whistle and allow it to play in an automated way and so now we're going into the main chamber which is as you're facing the organ from the outside it's the left chamber and it has some other third of the pipes in it so you can access everything they give you there's a bit of crawl space and planks here for you to step on and maneuver around and so you can kind of get all around the organ when you're tuning these pipes you can be in here saying with these guys it's a lot of reaching over it's quite complicated but fortunately you don't need to tune that much because it's the room is temperature controlled this room is 72 degrees and about 45 to 50 percent humidity and that keeps everything nice and and in tune and stable so we're now standing in what's called the main chamber and as you can see there are a whole lot of pipes in here of the 1366 probably a third of the pipes are in this room your smallest pipes are right here this is the trouble end of the chests and you realize how amazing an organism you look at how small that is and how I pitch that is and then you look at compare it to this pipe it's low pipe here just that that range of a pipe organ is so incredible each one of these is a rank of pipes that approximates the sound of an orchestra so we just placed here some of these want to play something on the tuba so that's that rank and then these for example are called viola Orchestra video and you've got a normal video and then you've got a video celeste which is tuned a little bit out of tunes you get sort of a broto you just play the video first without the celeste now when you add the Celeste it adds the slightly detuned rank [Applause] supposed to give me a bit of that sort of string vibrato sound to it and then right here is the flute rank and then nearest you is the clarinet rank and then this rank so all these all these ranks are chromatic which is unusual very unusual in an organ your highest notes are on this end of these chests your lowest notes are down there most CD organs you'd see would be on diatonic chests so abcdefg abcdefg out like this so there are two diatonic ranks in this organ this is supposed to sound like a choir it sounds nothing like a choir but when you mix it with an ensemble at least gives you some sort of effect can you play that this is rank you never play with without vibrato without the turbulence but if you just play it once without the turbulence and now is it's actually really good for making a goat sound so then along these walls we have what are called the offset chest which is where your biggest pipes go and these these are some of the lowest notes it's the lowest of the diet Payson ranked let me play those so it's not this really if you were standing in the room right now you can really feel the bass right through you and we've been doing a lot of experimenting with recording some of these bass pipes they sound tremendous it's really exciting and you can kind of record these but there's just a different experience to being in the chamber with the pipes and even being out there listening to the organ it's just there's something that happens physically in the room that you obviously cannot record but that's so this is the this is the main chamber so now we're going out of the main chamber and past the percussion chamber to the solo chamber which is where most of the pipes are in the organ so this is low c-sharp 3 octaves below middle C and if I fire it here locally you'll see the amount of air it requires to play that it's basically a slit in here the air comes out blows across the lip and it sends air up and back down and that that gets us C sharp and it's an eight-foot pipe as you can see it's quite hefty you really get in the door around it this is an or oboe horn Quinta Dena which is a string rank I've got orchestral oboe if tibia here and tibia more than any other rank in a theatre organ is that classic amazing sound that that is the sound of the 20s and 30s and there's a very famous organist of that time period named Jesse Crawford who sort of really took the tibia and made it a part of what we now think of as the most classic the organ sound mark you want to play something like that with the traverse on the tibia that's quite loud in here and that's not even close to the loudest rank in here but yeah that's sound you hear that sound and it's just classic 20s 30s and then you go over here we have an English horn we have a saxophone and the trumpet you can see the saxophone pipe it's not a saxophone the way we think of it today it's a reed color that you add to other ranks in the Oregon to give it sort of a different give whenever you're playing a brighter sound and then you've got brass these brass trumpet pipes which are quite tall they get 2 up to 8 feet and then this whole wall back here it is very rare these are Wurlitzer solo strings it's a solo string and a solo string celeste and again the solo string is tuned a 440 the celeste is tuned slightly is it sharp or flat slightly sharp and that when you play those two together you get that sort of waiver which is like but Bravo on a string you want to play the solo string and Celeste [Applause] I just do the bass bass end the 16 foot it's basically it has that super Airy sound so it's like the bow on the string and we've been experimenting with putting this behind celli or basses and it has a really cool sound and I think I've heard at Fox from Arman Steiner who was it who's the legendary scoring mixer that when they would use the organ occasionally they would use it to basically accentuate if they didn't have enough base with celli they would throw some of the the 16-foot ranks of pipes behind the basin celli and that would give it a sort of fatness it was really cool and that's something I've been experimenting with too so one of the things that that might be fun is if we go under these pipes in this room and under the chests and you can see the matrix incredibly complicated matrix of magnets that all help these pipes speak when you play at the keyboard and just keep in mind when you see all this this is all technology that goes back to the 1900 or early 1900s and this one we're gonna get 1928 so we'll go we'll go down and take a look at this yeah okay right now I'm lying underneath the the chest here and if you can see these black they're called Black capped so release one of these pins under here there's a pipe above it and you're you're you're bypassing the magnet system and you're just pressing the primary valve and allowing air into the pipe that's her tibia right this is our string ranked solo strings and all those cables and wires I showed you downstairs that bundle this is where they come they all get come up here then they get spread out into the matrix underneath these and every single one of these magnet caps has the magnet coil next to it so it's incredibly complicated and all this goes back to the very early 1900s what you're looking at right now my interest of this organ is obviously the history of it in the in the film film business and TV and then just the beauty of the instrument itself but I'm also when I first heard one of these years ago I thought about it from the point of view as a composer too because I think there's a whole universe of sounds that this instrument offers that haven't been experimented with and so for the film I just did called the house of the clock in its walls throughout the score we used this instrument and sometimes we'd use it traditionally in the way it's known for and for the end titles we basically took a couple of orchestral cues and Mark Herrmann and I worked at sort of putting it into the player system of this instrument so that we could capture the performance in a way that you couldn't a single we're gonna c-couldn't sit down and play it necessarily but the organ itself can be programmed to play it in a rudimentary way we're still working on getting logic to work with with this instrument so I'm just gonna play this piece that was originally for Orchestra and we tried to basically arrange a program for the organ that piece and you're gonna hear really the full dynamic range of this instrument all of the the colors and sounds it can make and it's pretty incredible and when you see the movie the house in the pocket as well as we listen to the end credits over here this [Applause] [Applause] so that's that I love that the sound of that and it's it's I think it's a sound that that you don't hear typically with this instrument we're just getting the very tip of the iceberg of what this is capable of but I think that was a fun exploration of what this instrument can do so this is a set of Deegan shaker chimes and JC Deegan pioneered a 440 he his company made a lot of bells and and pieces for theater organs and this particular instrument is pretty hard to find and pretty rare and my friend mark found them and told me about them and these are often found exactly the way this one was found which is underneath the bed of a woman who passed away by her son and so it's it's it's amazing when they show up and basically if you know what an ankh lung is and on Columbus and Indonesian instrument and these are bamboo instead of alloy metal you shake them and basically you've got your three times here octaves and you put them all together and you know you can make music with them and easier black keys and they go diatonic up at the upper end but you know they Simpsons a beautiful sound unique sound and again the Indonesian version it would be exactly the same thing except it's a much more woody tone more like a marimba or something then at a time so this is I call this my butchered piano it's a piano that I flipped on its back and my piano tech cut off the keys and the sustain pedal and this I got huge use out of in True Blood and also the Americans and you can play it with all sorts of hammers and we put in this sustain system so you could sustain just the trouble and leave your bass free for [Applause] or you can disengage that let's see here how do I do this that and you can get sustained in your base and then you've got your it all sorts of cool sounds that way and then the theme you know I played for let's see here for the Americans you know this looks like a standard pipe pump organ oftentimes when people see these these days it's out in the driveway waiting for it to be hauled away by the trash or something originally you would have had a reservoir inside and you would have pumped the pedals and provided air to read pipes and what I did with my friend mark we came up with this idea to really experiment with pipes so this actually has a series of blowers back in with the Wurlitzer and we ran a wind line underneath the foundation of the room back up to here if you look back here you can kind of see the wind line so this is the wind line that goes out out of this four inch conduit or this four heads win line and that goes all the way under the foundation but 55 feet that way into a series of blowers which provide wind for this and we basically gutted this old pump organ and just use it as the sort of the case for our art the experimentation we're gonna do which we're really excited about we put in the seven deadly sins here and then in Quito which is to arouse or turn on that turns on the instrument turns on the the blower if it provides the air and back and then crepitus it turns on a second blower in series and it over blows the pipes so you get this crazy shriek out of these pipes and we don't have it where we're just still experimenting we just got this in here yesterday but it's it's gonna be a really exciting instrument and also figuring out what these guys do we don't even know yet but we have lots of ideas for how that's gonna work [Applause] so this is the lounge kind of went all out with it and just as the organ which is built in 1928 just as that aesthetic drove the aesthetics of the stage as you can see it drives the aesthetics of the whole building so very Art Deco this is not like so unusual but it's a Victrola from early nineteen hundred's and plays shellac records crank it there's no electricity or anything else and with these old records there's a little needle and you replace that after every single play or else you destroy your records so believe it or not there are guys who make these needles and you basically put it in here and then you engage the spring and then you put this down towards this so if you want it softer volume Thank You Morgan it's that and then over here there's actually show off the room quickly because the room is very specifically built for the purposes of scoring if you look down in there right now we have a second floor view of the stage so when we did house to the clock and its walls here we had the conductor where the harpsichord is and then the orchestra laid out here and then all of the folks from Amblin were up here enjoying the session hearing the feed through these speakers watching picture there and and it it allows a larger number of people like a super comfortable setting to be a part of the session without all of us having to cram into that room like sardines downstairs so it's kind of a cool cool function of this room this is made by the same guy that made the shaker chimes downstairs Deegan JC deacon and it's basically just a super loud glockenspiel it has a keyboard on the back here so you can play it's not working right now and it's it was an attention getter for the carnival or something you would put this put this there having play and people could hear it for literally miles around and then this is this was built for me this is kind of a standard crank organ or street organ that you would have seen starting to show up in the 1800s even sometime in the 1700s has a hundred and eight pipes or there abouts and it's again nothing nothing you plug in it's all acoustic and the card pushes the teeth down right and then as the teeth pass over they are loud up right there see and and let in the air so for that in there the last thing up here is this very early upright piano so this is called a euphonic on and it was built by steward in London in 1830 and it's Macassar ebony old grouse Macassar ebony which you can't really come by anymore and it needs a restoration but basically he took the base end of a piano harp and instead of going crosswise so then your contemporary piano case would go around it like in that box he just ran it up made it look like a cool harp and it's capable of all sorts of cool sounds you know that um we've experimented with and it's got this incredibly heavy frame I mean incredibly heavy I think it's like 600 pounds it took four guys two hours to get it up those stairs and they snapped two stairs so I don't know if this will ever go anywhere but it's a really cool forgotten about piece of history like a lot of these things you know the Wurlitzer is another piece of musical history that has kind of been forgotten about and I think it it it has a role in contemporary music I love sharing all of these instruments with people because I didn't know about them myself seven or eight years ago and there was a whole incredible period in history in the early 1900's late 1800s where people were building these instruments and if they brought such ingenuity as engineers as musicians to the idea of making music and none more than the Wurlitzer which is such a special incredibly cool piece of early film music history and since I write foam and TV music it was such a I feel so lucky to a finding it found the instrument become obsessed by it to build the space and then now to share it and get it back into film music and as I said I used it in the house of the clock and as walls Danny Elfman was here and used it in the grinch upcoming film and I just know it's gonna work its way back into film and TV history where and so uh thanks

22 thoughts on “Creative Cribs: Nathan Barr Composer of 'The Americans'

  1. Insane is the word I'd use here. Would love to visit!

  2. John Powell: Look at my dogs
    Junkie XL: Look at my modular wall
    Hans Zimmer: Look at all my synths
    Nathan Barr:

  3. and all this fits into an 80's Casio haha awesome tour, this is what I would call a labour of love

  4. Jaw dropping beauty!

  5. How much money is this guy making???

  6. Please do Max Richter

  7. these is sooo incredible!!!!!

  8. WOW

  9. This ain't a studio, this is a museum. Happy to see that great instrument getting the amount of respect and love it deserves.

  10. My god. That nyckelharpa sounds gorgeous. Like something from the soundtrack of a Coen Brothers movie. And Nathan deserves a prize just for preserving that movie studio organ.

  11. Darn…..I guess my broom closet with a Line 6 isn't as impressive as I thought 🙁

  12. The expression in Nathans face at 36:22 explains everything….thanks for this inside view ❤️

  13. "Here's my vitrola, from early 1900's… it play's Shellac records… I'm a huge fan of Steve Albini! Here's 1000 Hurtz…"

  14. Dear Nathan,
    Please release an album of you and your amazing electro-cello drone.
    Could listen to that for hours – so peaceful.

  15. @SpitfireAudio Can I recommend checking out @RobDougan. His music is incredible, orchestral, and he's a thoroughly lovely chap, and he's recently been doing a great series recently on his progress after some time away from composition (making some amazing wine).

  16. I was amazed by the variety of instruments in this video.

  17. I've been a lifelong theater organ fan myself and have pretty much heard a very large gamut of music played on the instrument but using the instruments relay to create a multi-layered orchestral score and play it back through the instrument at 35:00 is just mind-boggling to me!

  18. Amazing! Thank you, great episode 🙂

  19. This blew my mind

  20. "basically"

  21. Such a fantastic demonstration!
    Now viewers can understand where the term "Mechanical Rights" comes from 😊🎵👍

  22. Elon Musk has weird hobbies

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