My new CD is out!

[Steve Lin]

Hi everyone, again it's been probably a month or two since I posted.
This time some good news: I have a slightly updated site and a new CD.

The new disc is titled Imagen and contains some of my favorite music by Lauro and Barrios.

Please check out the clips and hope you like what you hear!

www.linguitar.com

[Michelob]

Well done Steve, what guitar are you playing in the two CDs, is it the same instrument...? I like the tone I hear on both recordings, even though through my LapTop.

Bravo Steve Lin.

[JoeAlders]

Hello Steve,

I listened to your youtube flash video where you are playing Bach’s Allegro BWV 998
and perhaps it has something to do with my age (62) but your playing of this piece is
not ‘allegro’ but more ‘allegro agitato’. Yes, it is fast but very, very uncomfortable is my
opinion. If you slow down by a factor two(and then it will be still ‘allegro’) I think it will, musically speaking, improve substantially. This has nothing to do with you technique which is undoubtedly impeccable.

Joe.

[Todd]

I agree with Joe regarding the Allegro. I wonder if being around
Fisk and Grisha alot has affected you're own equilibrium.
Though, as Joe says, and i agree, you're technique certainly is not
in question.
The clips all seem a bit subitaneous, or perhaps, perfunctory.
I dont percieve alot of elegance and/or grace. Some nice rubato and
vibrato from time to time, but generally a bit ruthless.
Im probably saying way too much without actually hearing the CD in
its entirity. And these things can be highly subjective.

But im getting a sort of "Fisk'esqe" vibe. I know he's a great teacher,
but his playing is not my taste. He has a hasty, merciless quality
that makes me nervous as i listen.
Anyway, just throwing some thoughts out there. I think you're a masterful
technician on the guitar, and am always interested in what and how
you're doing.
You have the enviable ability to play anything you want, as
fast as you want.
Would like to see you temper your great power, with a little more sensativity
to dynamic range, and tonal coloration/variance/elegance.
Its not easy to write these things to you, as i realize that you're
work ethic is absolutely staggering. You are GREAT at what you do, period.
But you know me, i always say
what i think. LOL :-) Even though i know im gonna "hear it" from everybody.

I wish you great success with your CD!
You deserve it..
TK

[Steve Lin]

Joe, Todd,

Thanks for the message, and the straight-forwardness.

My interpretation of the Allegro is more focused on the bass, which I don't hear much of. It comes from listening to lots of contemporary performances of early music. Many Allegro-like movements (even in Vivaldi, Telemann, Quantz, Handel, etc.) are energized with prominent bass lines, which help to better-define the harmony. No coincidence there: Baroque music is founded in the bass, basso continuo, etc.

The "Fisk-ness" wasn't something that I developed after studying with the man. For me, it was always there, and I think it has more to do with listening to a lot of classical music in general, especially when I was younger. In particular I think of Casals, du Pre, Toscanini, Walter, etc.; these artists brought a lot of guts to the stage and I don't get much of that listening to classical guitarists.

Being around Fisk and Grisha has definitely affected my "equilibrium" -- and I mean that in the best possible sense. We can't grow if we're always comfortable, though ironically, I was always very comfortable around them. The result was that those two, and many others, force me to challenge myself. But because both were wonderful human beings, it made for a very healthy source inspiration.

I welcome differing opinions (such as your two messages). The Allegro is only a small portion of what I do on my instrument.

Todd, you're probably right -- the choice of repertoire on the YouTubes don't let me play the more sensitive music. I'd like to find some time to make more videos, but time is hard to find and I don't always have the equipment.

Regarding dynamic range, sensitivity, etc., I'd like to hear your thoughts on some of the other things I play. Maybe the Aguado "Adagio", on my first CD.

[Steve Lin]

Michelob,

Yes, same guitar on both CDs: my wonderful Stephan Connor. (Cedar + Indian)

Not to take anything away from Connor but I think, in a recording environment, the magic was with Vince Go (VGo Recordings). We took the time to do a careful sound check, taking into consideration the room, the mic placement, where I sat, etc. Vince also has a fantastic set of ears, and it makes a huge difference. A good guitar can sound awful if poorly recorded. What's I like most about the VGo sound is that the guitar is always very pure and present.

If you glance at VGo's catalog, you can see that he doesn't only have one ideal sound. Check out Grisha's new CD, "Homenaje a Sabicas" -- for starters, there's a quality in the sound that speaks beautifully to and of Sabicas. Of course, this isn't to take away from Grisha or his Connor. What VGo's terrific engineering has done is bring the best out of Grisha and his Connor.

http://vgorecordings.com/ARTISTS/Grisha.htm

[cgram@adelphia.net]

Steve, I really enjoyed listening to your clips. I'll have to add your CD to my huge list of music I need to buy. I really enjoy your style, or what I've heard of it, and Fisk's as well, although I think your playing has its own musical personality, which I wouldn't confuse with that of your teacher's work. Good luck to you with the new disc!

James

P.S Do you know by any chance when Scott Wolf's CD is coming out? I emailed him a bit ago but he didn't really specify.

[nylon6]

Michelob,

Yes, same guitar on both CDs: my wonderful Stephan Connor. (Cedar + Indian)

Not to take anything away from Connor but I think, in a recording environment, the magic was with Vince Go (VGo Recordings). We took the time to do a careful sound check, taking into consideration the room, the mic placement, where I sat, etc. Vince also has a fantastic set of ears, and it makes a huge difference. A good guitar can sound awful if poorly recorded. What's I like most about the VGo sound is that the guitar is always very pure and present.


Then can you explain the hideous sound on Fisk's VGO Scarlatti recording?

[Steve Lin]

Nylon,

Actually, I'm happy to shed some light on that, so thank you for asking. (You're hardly the first person to bring this up.)

If you check the back of the CD, you'll notice that the mixing was actually done by Penguin Recording.

Some other facts (right on the CD): The CD was recorded at AC Studio--I've never been there and don't know anything about it. The CD graphics were done by Yashi Okita Design.

Both of my CDs were recorded in churches. I have done things in studios before and I prefer the high ceilings and open spaces of churches. I took a recording class at Yale; the professor spoke about how halls and performances spaces "breathed"; studios, by comparison, didn't have that breath that he favored in halls, and it was something he could hear through the mics.

Mixing is a process that I completely don't understand, but I do know it is crucial to the final sound. What you're hearing is likely the result of what Penguin Recording decided to go with.

This just proves again that recording is not just mics and a free version of Audacity, but an intricate art that also requires good musicianship on the engineer and producer's part.

I'm happy to say that now VGo does everything in-house, including the cover design. The main reason why this is so great is that, as an artist, you get to work very closely with VGo and you have an incredible amount of control over the result. It's like collaborating with a composer who is writing a piece for you or rehearsing with musicians you like to play with. If you're working with VGo you can be sure that in the end, you have something you can be proud of.

[Steve Lin]

James,

I haven't heard from Scott in a while, but it's hard trying to do DMA and work on a CD. (Been there!) I'm still doing my DMA actually, but thank goodness I've finished most of my heavy course work.

I can't wait for Scott's to come out.

Just in case people are interested, here's my good buddy's internet thingy:
http://wolfguitar.net/

[condeclaro]

Actually, I'm happy to shed some light on that, so thank you for asking. (You're hardly the first person to bring this up.)


Thanks for the clarification Steve. I was a little reluctant to purchase the other VGo recordings, but now I can do so with confidence.

You are very brave to record a Lauro CD while under Fisk. You know he owns this repertoire like no one else don't you? :) But, from what I hear from the clips you are doing your own thing and it sound lovely. Exciting!

Hope to be able catch you in the Bay Area in May.

Congrats.

[JoeAlders]

Hello Steve,

Just listened to your ‘Capriccio de Goya No.18….’ from Castelnuovo-Tedesco clip.
Despite the bad sound quality an absolutely enchanting interpretation!

Joe.

[Steve Lin]

Joe,

Thanks for the compliments.

YouTube isn't known for high-quality sound compression, but I use it because it's convenient. You can see the same video on Quicktime if you have it (many people were complaining they didn't have QT installed.)

Here's the link:
http://vgorecordings.com/Video_Index.htm

Steve

[nylon6]

Thanks for the clarification Steve. I was a little reluctant to purchase the other VGo recordings, but now I can do so with confidence.

You are very brave to record a Lauro CD while under Fisk. You know he owns this repertoire like no one else don't you? :) But, from what I hear from the clips you are doing your own thing and it sound lovely. Exciting!

Hope to be able catch you in the Bay Area in May.

Congrats.

I appreciate the clarification, too. I just assumed VGO did the recording. The audio on that CD does Fisk a huge disservice. Admittedly, his tone has rarely sounded that great on CD, but this one is especially egregious.