CompuServe Messages

Steve: Heritage Studio near Huntingdon, Cambridgeshire in the UK is a commercial recording studio setup by Evelyn Glennie, a famous classical musician in the UK. It provides the highest resolution audio recording available anywhere in the world at the present time. There are already plans for some of the most famous Ensembles to record at the studio, film music and TV commercial music will also be composed and recorded at the studio. As the studio is only just about to open most of the negatiations with major artists are still in progress so I am not able to mention them specifically, sorry. Evelyn has 2 upgraded Amiga 1500's which are used to run her business, utilising mainly Database and Wordprocessor programs. The A4000 however is used obviously for comm's, mainly CIS and the WPN (World Percussion Network). The A4000's main task is to run the MIDI and syncronisation capabilities of the studio. Dr.T's KCS has a program called Automix which can mix two MIDI parameters in real time in upto sixteen tracks. The Amiga however can run Automix ten or more times so I can control in real time almost any MIDI parameter. This ability is not available on any other platform. Even under Windows the output from one Automix program would be halted when switching to another Automix. Another advantage of the multitasking abilities of the Amiga is that I can run my database and look up the location of various sounds within my synthesizers while my sequencer runs in the background. It can do this while simultaneously syncronising my MIDI information with the live recording equipment. I have used the Atari and the MAC, I don't like the Atari but I think the MAC is great with an excellent Intuition, unfortunately it just cannot provide the versatility of the Amiga. With the introduction of Bars & Pipes Professional v2.0 The Amiga is by far the best computer for our studio. When Full Motion Video becomes available my Amiga should also allow for the multitasking editing of both video and music. I think that the only thing holding the Amiga back from dominating this area of computer use is Commodore's marketing. Just for your information here is Evelyn's most recent biography: E V E L Y N G L E N N I E The London Times: "The young and by any standards brilliant percussionist Evelyn Glennie …. displayed admirably her astonishing capabilities." The Sydney Morning Herald: "Here is an awesome skill and certainty that becomes almost bewildering ….". South China Morning Post: "Brilliant Glennie mesmerised a capacity audience." Washington Post: "(Evelyn Glennie) Proved herself able to communicate any musical mood, and at the close left the audience with the pleasurable and rare sense of being in a new musical world". In a very short space of time Evelyn Glennie has established herself as the consummate musician. She is believed to be the only full-time, solo percussionist in the world. Her outstanding international career now encompasses concerto, chamber and solo performances, television and radio broadcasts as well as recordings. Evelyn Glennie was born in Aberdeen, where she studied timpani and percussion from the age of 12. In 1982 she entered the Royal Academy of Music in London where she won many prizes, including the Queen's Commendation Prize for all round excellence – the highest award granted by the RAM. She went on to win the 1984 Gold Medal in the Shell/LSO Music Scholarship. In 1986 a Munster Trust Scholarship enabled her to visit Japan to further her studies. In 1991 she was awarded the prestigious Royal Philharmonic Society Charles Heidsieck "Soloist of the Year", Aberdeen University conferred an Honorary Doctorate of Music upon her and she was elected a Fellow of the Royal College of Music and the Royal academy of Music. Following highly successful concerts with the Los Angeles Philharmonic at the Hollywood Bowl and a recital in Washington, she will return to the USA to work with various US orchestras, including the National Symphony Orchestra (Washington) and the Cincinnati Orchestra. She is a regular visitor to Japan, where she is in great demand, working with all the major orchestras. In 1994, she will return to Australia and New Zealand for her third tour which will also include visits to Singapore and Indonesia. In the UK, in addition to her busy schedule, Evelyn Glennie regularly works with all the major symphony and chamber orchestras, where she often champions new works. In 1989 Evelyn gave the first ever percussion recital in the history of the Proms and in 1992 she returned to perform the premier of a specially commissioned concerto by James McMillan. Among the earliest of Evelyn's numerous television appearances was a CBS documentary about Bartok's Sonata for Two Pianos and Percussion for which she joined Sir Georg Solti, Murray Perahia and David Corkhill – their subsequent recording won a 1989 Grammy Award. A South Bank Show documentary "Evelyn in Rio", where she took part in the carnival, was broadcast in many countries and has been released as a video/laser disc by Decca. Two major documentaries on Evelyn's life by the BBC and Yorkshire Television have also been broadcast. Composers are continually writing solo works especially for her: Dominic Muldowney, John Dankworth, John McLeod and Richard Rodney Bennett, to name but a few. She has founded a major composition award to further the development of Percussion compositions – the "Evelyn Glennie Percussion Composition Award" is at present open to all UK composers. The first such award will be granted in 1993. Evelyn Glennie has an exclusive recording contract with RCA/BMG. This month sees the release of her fourth recording : "Rebounds". Previous recordings include the highly successful "Rhythm Song", "Dancin'" and "Light in Darkness" albums. "Good Vibrations", Evelyn Glennie's autobiography, was published in the UK in 1990 by Century Hutchinson and in Japan in 1992 by Simul Press. NOVEMBER 1992 Evelyn's recent accolades include an OBE (Order of the British Empire) and the International Classical Music Awards Personality of the Year. I hope this is some use to you, Greg.