Posts Tagged ‘musical sampling’

Albert Einstein

Thursday, October 29th, 2015

Albert Einstein

Albert Einstein

Noah Marlowe is a fine fellow and a peachy dancer! Besides being super talented and highly intelligent, he’s a real good kid. I give a tip o’ the hat to his parents, Michael and Dana, for raising such a fine young man. I use the term “young man” knowingly because on many levels Noah is far ahead of his years. And then again, he’s thirteen. It’s a delicate balance to maintain, but the Marlowe family has handled this young prodigy quite well.

Both Michael and Dana are educators, so it seems that they’ve brought their experience to their own family most successfully.

When I first met Noah at age twelve he walked into my apartment in NYC wearing a tee shirt with Albert Einstein’s face plastered across the front. Hanging in my entrance hall was a 4×5 foot painting of Albert as well – my own personal hero. Immediately I knew we had a connection.

Here was a kid who was already a seasoned vet on Broadway who was also deeply interested in quantum physics and seemed to live in a world far above the usual banal clichés of most pre-teens. I took an immediate liking to him.

It was only natural to write the first song for him entitled, Albert Einstein. When I was a kid, I wanted to grow up and be like Stan Musial of the St. Louis Cardinals. So to aspire to be like the generally considered world’s smartest human was a most interesting choice for a 12-year old. In a way, it set the tone for the album.

Albert Einstein

Music and Lyrics by Peter Link

Part of me wants to be just like Albert

Just like Albert

Albert Einstein

If I only had the smarts

If I only had the brain

I’d think a million thoughts

That would bollix the mind

Change the way the future will remember mankind

Leave Sir Isaac Newton and his apple far behind

And drive my fellow physicists insane

Oh part of me wants to be just like Albert

Just like Albert

Albert Einstein


Yeah part of me wants to be just like Albert

Wise old Albert

Albert Einstein

If I only had the gift

Of a two hundred IQ

I’d change a lot of things

Yeah I’d know just what to do

I could 3D print my body an’ keep it up on the shelf

Take it down at night an’ have a talkin’ to myself

I might even lose all track of who was who


Yeah part of me wants to be just like Albert

My pal Albert

Albert Einstein


Yeah, I’d be known as a young savant

I’m not talkin’ no dilettante,

But the sage of quantum physics

Well I’d spend all my time

Dreaming up ‘ventions of the mind

Like zero calorie ice cream

Bicycles that can fly

Traveling on a light beam

And dogs that wouldn’t die

I’d open up a store on-line and call it

Einstein’s Designs And Inventions Of The Mind

And the world would line up at my door

Roaring “More, more,

We Want More!

More of that Einsteinian soul

Yeah, more of that Einsteinian soul!!”


So part of me wants to be just like Albert

Good ol’ Albert

Albert Einstein

If I only had the grasp

If I only had the wit

I’d stun the literati

Thinking out of the box

With my hair all out of whack and my two eccentric sox

I would stand among the giants

Oh yeah, that rocks!

And when it came to school, I’d quit!


Oh part of me wants to be just like Albert

Ooooo Albert

Albert Einstein


Oh Mr. Einstein

Can I call ya’ Albert?

We’ll be hangin’ out!

Shootin’ pool!

Workin’ equations!!

Playin’ video games!!!

Debatin’ the variances of string theory …


Hey Albert, let’s take a break n’ go skinny dippin’

He’s my pal …


Miracle Of Faith – Part 11

Wednesday, April 9th, 2014
Julia Wade

Julia Wade

Note: I suggest that if you haven’t yet read Miracle Of Faith – Parts 1-10 yet you start there.  This way you’ll get the whole story.

The Session:

The first two sessions of this project certainly had their degrees of unfamiliarity for me.  First recording an inexperienced 12-year old boy and secondly, recording a very experienced myself put me in somewhat of a different zone.  So it was only fitting that the third session would go smooth as silk.  And it did.

Julia Wade is as pro a vocalist in the booth as I’ve ever worked with.  She comes in totally prepared for the work, she’s smart and experienced and has all the chops necessary to accomplish just about anything I want.

On top of that, she loved the song and had been singing it around the house for weeks.

There’s not much drama to this story because Julia simply came in and did her job.  We did 7-8 takes and fixed a few rough spots and were finished in a couple of hours.

The comp was difficult frankly because I had so much good stuff to choose from.  Most of the time I sweat going through the comps praying that I have the takes, praying that I have at least one great take per line to work with.  With Julia, there were always a plethora of choices to choose from.

Also, if I may further praise my artist (and wife), Julia is a committed actress deeply involved with the subtext of the songs she sings.  That, coupled with a great and highly trained instrument, makes her a joy to work with.  People often ask how, as man and wife, we work together both as artists and partners in  business running Watchfire Music.  We also run most of the business out of our home and our studio is also in our home.  This means we spend 24/7 pretty much together.

Well, beside the fact that we love each other, we trust each other.  We don’t spend much time looking over one another’s shoulder.  We each do our parts and run our divisions and trust that each of us will do our jobs well.

Recently she took on a new manager and that was a real lift for me.  I was her turn-to manager for the last 15 years.  I did it out of necessity, but never really loved the job.  It always seemed like one thing too many.  So when her new manager, Reggie Bahl, came on board I breathed a sigh of relief and went back to work.

It’s also interesting to note here that Julia has had a twenty-year fascination with the life of Mary Magdalene.  She’s read many books about her, poured over every mention of her in the Bible and already played her once several years back singing a song of mine named I Was There.  So this experience, for her, was a continuation of the exploration of that character.

Hers is a voice that I can hear in my imagination as I write, so I know pretty much how it’s going to sound as I’m writing – a great gift for a composer.  Also I know her instrument so well that I can orchestrate a song without her having previously recorded a scratch vocal because I can hear her in my head.  This way the orchestra and Julia can work as one.

It’s a good partnership.

And more importantly, we have a great time together workin’ it.

The Logic of Logic II

Saturday, July 30th, 2011

Every once in a while I just have to stop and be grateful for and appreciate the incredible tools I get to work with creating Inspirational music here in the 21st century.  I’ve been working with a software system for about 15 years now that was first developed by a German company named Emagic in the early 1990s called Logic.  In 2002, Apple, seeing that Emagic’s Logic had probably the most powerful engine of the various DAW (Digital Audio Workstation) systems, bought Logic from Emagic and has produced this industry leading tool ever since.

Coupled with a hot Mac computer and a few other relatively inexpensive pieces of hardware, this software system has taken the place of the entire recording studio of yore amazingly for the price of $499.

For 25 years I owned a major recording studio here in NYC and operated 3 rooms for various recording spending, over time, a couple of million dollars on equipment to keep up with the times and keep the shop running.

Today all that has changed dramatically.  Today I record symphony orchestras in my son’s converted bedroom in my apartment.  Of course I’ve put some serious money into the acoustics of the room including an isolation booth that fits five, but essentially, I’ve got everything I ever had before and more, for infinitely less. (more…)

Cream Of The Crop

Tuesday, February 23rd, 2010

As I sit here this morning high up on the 38th floor, I look out my window at New York City, 5:30 AM, just barely coming awake – the city that never sleeps.  From my perch here high up over the city I have a spectacular view all the way south from 42nd street to the Statue of Liberty and beyond New York Harbor to Staten Island.  If you’re gonna live in NYC, live above it all if at all possible.

I’ve been fortunate.  I’ve watched the city grow and change from this perch for over 25 years.  I love NY.  It’s been a lifetime sittin’ on top of the world watchin’ 10 million people go by, but I’d leave now if I could.  40 years of concrete and glass can wear you out on certain levels and sometimes the Missus and I just want to take a walk in the woods.

But I can’t leave this wondrous city – at least not yet.  Most of it I’ve seen now and certainly experienced, but there’s one thing that still keeps me here. (more…)

Things To Come – Part 1

Saturday, February 13th, 2010

Part 1 – As a company:


Life is good.  One of my New Years resolutions was to rebalance my life and get back more to my creativity in the recording studio as a composer/producer.  Funny how things just happen when you simply put it out there.

I was feeling like I was getting stuck in the daily excitement of Watchfire Music as an executive with the company and along came more studio projects than I can handle.  All good.  These problems I can live with.  It’s what I live for.

When it rains; it pours.


The Sin of Sampling

Monday, September 21st, 2009

music_studentIf you haven’t noticed, we have a little debate going on regarding last week’s September 15 post Feed the Hungry – Heal the Thought. A number of astute comments poured in reflecting several musician’s thoughts and frustrations with the art of sampling.

It’s clearly a controversial world and I live smack in the middle of it seeing both sides with equal respect. However, tonight, I’d like to clear up several misconceptions about the sample process.

First of all, sampling is the act of recording the actual sound of the real instrument and then re-using those notes to build orchestral parts. Many people confuse this with synthesis.  [For a much more detailed study of this, please see: On Sampling – Part 1-3 in this very blog]

I have orchestrated for ‘real’ orchestras in my career and also for the virtual ‘sampled’ kind as well and though there are virtues to each, I believe the public generally misunderstands the latter. These too are ‘real’ orchestras. They are just as ‘live’ as a ‘real’ orchestra because they too are digital recordings of orchestras playing music.


But What About The Poor Musicians?

Saturday, August 15th, 2009

For the last several days we’ve been discussing the amazing art of sampling that is making such huge contribution to the music industry and to the way music is made today. With a virtual sampled orchestra library, a composer/orchestrator no longer needs to hire an orchestra, but can now create an equivalent sound with his sampling software and a powerful computer.

For a composer, this is a tremendously enabling concept. It means that the huge amounts of money previously spent before are no longer necessary for the completion of one’s musical creativity.

street musician

“But what about the poor musicians who no longer can get that kind of work”, I’m sure someone’s bound to ask. Well, it’s a good question. And the immediate answer is not pretty.


On Sampling – Part 3

Friday, August 14th, 2009

On Sampling – Part 3

If you missed the first two parts of this series, you can read them here: On Sampling – Part 1 and On Sampling – Part 2.

I have a wonderful software sampling program called “Heart of Africa”. It’s made by one of the best companies out there, my favorite company, Spectrasonics. For my money, they make some of the coolest stuff on the planet. I don’t even pre-listen to their offerings anymore, I just buy ‘em and use ‘em.

"The Father of the Electric Guitar"

"The Father of the Electric Guitar"

Heart of Africa is a 2-part series created by a team of recordists who went through Africa and recorded various tribes and musicians and African indigenous instruments. Part A is single note samples of their instruments – the kind of recordings that I spoke of in last night’s post where each instrument is recorded note by note, those notes are spread across a keyboard, and one can play one’s own parts and solos on that keyboard.


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