This week’s Time Out New York magazine features an interview with Mike about next week’s NYC premiere of “Through A Glass, Darkly” by the New York City Gay Men’s Chorus.
Chorus sings about addiction
“High” is a meth-themed concert.
Time Out New York / Issue 769 : Jun 24–30, 2010
By Beth Greenfield
This concert is one night only – Wednesday June 30 at 8pm. Tickets are still available through the Skirball Center website.
Previously:
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Mike and I have written and produced the arrangements for “Rock Band Live”, the first-ever live entertainment adaptation of the hugely popular MTV Games video game. Culminating the end of a two-week workshop rehearsal period, three private performances begin today thru Friday at 42nd Street Studios in New York.
The show was written by our long-time pal Joey Wartnerchaney and produced by RWS & Associates Entertainment, Inc., in conjunction with Cedar Fair Entertainment Company and MTV Games.
Featured songs are mashups of “We Got The Beat / We Will Rock You / Blitzkrieg Bop” and “Any Way You Want It / Hit Me With Your Best Shot” as well as interactive live gameplay with audience members.
Read more here:
Overheard at Anyone Can Whistle, New York City Center 4/09/10
Orchestra Right, row E – behind us as the curtain falls for intermission:
Well, they ought to be ashamed of themselves! That is no way to end a season… I think their voices have to be shrill to do what the music was composed to do… Well they did it cuz it’s his 80th birthday.
Overheard at The Addams Family, Lunt-Fontanne Theatre 4/07/10
Orchestra Right, row V:
Seat 14: It’s no Wicked.
Seat 16: It’s not supposed to be.
I’ve been configuring a new audio workstation, and I found that my Reason and Sibelius ReWire audio inputs wouldn’t work in MOTU Digital Performer 7 like they do on our other workstation. I spent the first part of 4 hours trying to decipher whether the problem was with Sibelius’ config or DP’s, only to realize that I hadn’t disabled Ableton Live’s ReWire slave mode and inputs on this new workstation.
I’m not sure the problem is necessarily with Live, but perhaps with DP having to handle so many ReWire inputs — maybe DP (or ReWire) has a 128 channel limit? At least on Snow Leopard 10.6.2 with Digital Performer 7.02 and Live 8.1.1, DP couldn’t handle adding Live’s additional 64 inputs to my existing 64 Reason inputs, 2 Sibelius inputs, and 2 Waves inputs. Note: the Live inputs were not even assigned to a DP input (no rows and no chicklets). Just having Live’s inputs *available* in DP prevented both Reason and Sibelius from passing ReWire audio into DP.
I generally use Live as a standalone DAW, so I don’t need these ReWire inputs in DP. But it’s not immediately obvious how to disable them, and it took me the rest of the 4 hours trying to get DP to forget about Live’s ReWire channels. Turns out It’s stupid-simple. It boils down to setting one preference in Live’s Options.txt file and then deleting two aliases from two different Mac OS X Library folders.
NOTE: Doing the steps below prevents Live from entering ReWire slave mode for all apps. It also completely removes the inputs from Digital Performer’s Bundles > Instruments window. I don’t know what else it might do — proceed at your own risk. :)
To disable Ableton Live’s ReWire slave mode and remove the inputs in MOTU Digital Performer:
-ReWireSlaveOff. Setting this flag tells Live not to undo what you are going to do in step 4.DP’s VI Instrument Bundles have been a little fickle since v6, so this all may be the result of some bug in DP, or I may be hitting some limitation of ReWire 1.7, or it may be something in Live’s implementation of ReWire. It is curious that every other audio app I have besides Live places a .bundle file in /Library/Application Support/Propellerhead Software/ReWire/ to register their outputs.
Why does Live just stick a lonely alias at the top-level of Application Support? Why doesn’t the file say “ReWire” in the filename like others do? Maybe there is more to that “Ableton Live Engine.bundle” alias than just publishing ReWire outputs. But Live reinstates the alias only when the -ReWireSlaveOff flag is gone from Options.txt. So as long as Live doesn’t repair the alias when -ReWireSlaveOff *is* present, I’d say we’re safe.
What originally started as a quest to fix broken ReWire audio between Sibelius and DP became instead about how DP and Live were working together (or not working together).
Deleting Live’s ReWire inputs from Digital Performer restored ReWire audio from Sibelius and Reason both. I hope that saves you some time.
Overheard at Priscilla, Queen Of The Desert: The Musical, Palace Theatre, London 1/06/10
From the Orchestra Stalls, near row K, centre aisle – and next to us, behind us, in front of us:
All the lyrics sung out loud to all the songs that anyone knew (with harmony even).
