Thursday, May 31, 2007

The Story of 213 Howard Street on Cushing Corner, Rockland, MA


Our house at 213 Howard Street was once part of the old Cushing Homestead, a property which included 213 and 214 Howard Street, as well as the main family house and barn at 131 East Water Street. “Cushing Corner”, as it is known, was designated as a Rockland Landmark in 1981, and is marked as such with a granite plaque, right near the intersection of Howard and East Water.

The Cushings were an industrious, prosperous and well-respected family in Rockland, having settled in the town in the early 19th Century. The family’s history on the South Shore of Massachusetts can be traced all the way back to 1639, when Matthew Cushing of Hingham England and his wife traversed the Atlantic to Boston, settling in, appropriately, Hingham, Mass. Matthew became a town father in Hingham, cutting the template for generations of Cushings to come. Over the next 150 years, the Cushings proliferated around the South Shore. From Hingham to Halifax they were town clerks, teachers, ministers and masons. One of those Cushings, Thomas, became the lieutenant Governor of Massachusetts, and is buried in the old Granary Burying Ground in Boston. The family history says that anyone with the surname Cushing in North America is a descendant of Matthew’s. To this day, there is much evidence of the Cushing name on the South Shore, in place names and street names. (It is doubtful that the well-known Richard Cardinal Cushing, one time Archbishop of Boston, is part of this same Cushing Clan, as the Hingham Cushings were English Methodists, not Irish Catholic as was the Cardinal).

One member of the original generation of Cushings to settle in East Abington, later re-named Rockland, was William S, born in 1827, who resided at the family homestead at East Water and Howard Street. He was one of nine Cushing siblings, and the oldest male. The main family business before the Civil War was trunk-making and wood-working. The youngest of the nine was Henry Jacob, born in 1843, who served in the Union Army in the Civil War. In later years, he often participated in Civil War memorial events, parading in Union Square in full uniform.

At some point after the war, the family business turned to meat and ice, two endeavors that went hand-in-hand in those days. There was an ice-house near the house on East Water, whose purpose was to both refrigerate meat and provide ice to Rockland residents. The Cushings operated a meat-wagon (lettered “Vermont Hams”), and an ice wagon; both horse-drawn, of course. They harvested the ice at Cushing’s Pond, now long gone. (What remains is Cushing’s Brook, which crosses East Water just a couple of blocks east of Cushing Corner). During the summer months, Henry Waldo Cushing (son of Henry J. and known as Waldo), sold home-made ice cream from a cart.

Having met his future bride, the lovely Julia Lane (the Lanes were another prominent Rockland family), Waldo set about to build a house for the young couple. He did so right on the Cushing property, just south of the barn, facing Howard Street. The address was 213. It is not clear exactly when construction began, but it had to be sometime in the early to mid 1880’s. (Documents dating the house to1850 are incorrect). On March 7, 1888, Waldo and Julia were married, and he carried his brand new bride across the threshold of their brand new home. A local news article from 1938 reports the Cushing’s Golden Wedding Anniversary celebration, which included an open-house reception at their 213 Howard Street residence.


Within three years, the Waldo Cushings of 213 Howard added two new residents to Rockland; sons Lester (b. 1889) and Burton (b. 1891). Lester went on to graduate from Harvard and became a professor at Lowell Technical Institute. The athletic fields at the college still bear his name.

After early years spent helping his father Waldo with the family business, Burton graduated from M.I.T. and became a teacher at East Boston High-school. He authored a text-book, “Fundamentals of Machines”, published in 1943. Burton built and lived his entire life in the house across the street, 214 Howard Street, and was a highly respected civic leader in Rockland. He was a life-long member of the Chamber of Commerce, The Kiwanis Club, and occasionally submitted op-ed views to the Rockland Standard newspaper. Not bad for a kid who started out selling ice-cream from a horse-drawn cart!

Tuesday, May 22, 2007

Review of the ADAM P22A 2-Way Active Studio Monitor


This review appears in the current issue of Tape-Op, a 'zine I ocassionally write for. It's a great publication geared toward the DIY musician, engineer and producer:

I love great-sounding speakers. I guess you could call me a monitor guy. Ever since I blew up the studio’s last pair of NS-10s in 1990, I’ve been on a quest for the perfect tracking and mixing monitor, one which exhibits the rare balance between musicality and accuracy. It’s not an easy thing to find, as I’m sure all you Tape-Op readers know. I am also a true-believer that an excellent pair of monitors, well-matched to the room, should be at the very top of any gear wish-list when assembling a project studio. Really, how can you get any work done if you aren’t hearing the full spectrum of sound?

My own quest started seventeen years ago, when I experienced Genelec S-30 ribbon monitors for the first time. They were the most realistic speaker I had heard up until then. I couldn’t quite get them rocking loud enough for my tastes, but they sure sounded good. At this point I realized there was no going back to the Yamahas. By ’92 I was using Meyer HD-1; the first popular self-powered console-top monitor. By ’94 it was the first generation KRKs, and then it was on to the Genelec 1031A in ’97. In 1998, I first encountered the Dynaudio BM15A, a discovery which changed my life. Never before had I heard a speaker so dynamic, so three-dimensional and detailed, so punchy, and so versatile. I’ve used it for tracking, overdubbing, mixing, you name it, without getting fatigued. The bass is deep enough even to track drums and bass. I thought I’d found the perfect studio monitor, and to this day, I love that speaker. Since then, not much else has grabbed my attention…until now.

I recently became hip to the
ADAM P22A, and wow, I am lovin’ that monitor! And I thought I hated ADAMs! All I had heard before was the ADAM S3A, which some people swear-by but which I have never been able to get a handle on. I guess they are a, “Can you handle the awful truth?” kind of speaker. And at five grand a pair? Fuggedaboudit! I’ll take my Dyns any day, thank you.

Then one day not too long ago ADAM’s Dave Bryce informed me that ADAM makes monitors in every size shape and price-range, so just because I disliked the S3A didn’t mean I should condemn all of the ADAM range. He asked me some questions about the type of speakers I like, and then suggested the P22A. I’m very glad he did. Thanks, Dave. For one thing, I'm a fan of vertically aligned two-way monitors (like a BM15A). So the P22A is a good match for a guy like me. (Even when I used the old NaSty-10s back in the day, I never laid them on their sides. Do people listening at home put their speakers on their sides?). I found the P22A to have tight yet deep bass, high SPL, fast, supple mids, and highs that are sparkly but never harsh. There are many things about the P22A I really like. First, they have a very wide and solid sweet-spot. Sometimes ribbon monitors bother me because the off-axis response gets phasey and weird, and you have to lock your head in to one tiny little mix position to get a clear image. This is not the case with the P22A at all; they have nice dispersion. Second, you CANNOT hear the crossover. It's absolutely transparent -- no odd valleys or peaks, which is a very desirable trait. Smooth from bottom to top. Even my beloved Dynaudio 15As get a little fussy at the crossover-points. Third, the speed of the folded ribbon gives the P22 really nice dynamics, detail, and three-dimensionality. This enables fine sculpting because you can really hear your EQ, compression and effects.

Fourth, they’re LOUD, rating 109db in the SPL column. You rock and hip-hop guys can get them cranking, which again is a trait not typical of classic ribbons.

Fifth, the P22A has deep bass, going down to 38hz, so you can feel the bottom octave, but it’s a tight, defined low-end, never boomy or rumbly. For many applications, this avoids the need for a subwoofer. But what I like the best is that the P22A is a very musical monitor. The silky highs, supple mids and punchy lows make it a pleasure to work on all day long. Most importantly, they translate AMAZINGLY! I usually have to mix and remix a song a couple of times to get the frequency balance right. My very first mix on the P22A was perfect. One and Done! (One song on a ten-song CD was mixed on the P22A, and I liked it so much I told the mastering engineer to use that track as the model to match all the others to). It's a rare speaker that is both musical AND accurate. Usually real "happy" speakers don't reference well, and super-accurate speakers are boring and no fun to work on. I can count the monitors that do both on one hand. The P22A is in that rare group. At half the price of the S3A, it lands at the same $2500.00/pair price-point as the Dynaudio BM15A.

Yep. I think the ADAM P22A just knocked my Dyns off the console.

Monday, May 14, 2007

Sad Day

Well, our house went on the market last week. This is yet another big chunk of fallout from my firing back in February. We moved to our home here in Rockland on Feb 1, 2001, and over the next six years poured every bit of heart soul blood sweat and money in to our little scrap of the American Dream. Never did we think we'd see a "for sale" sign--one placed there due to duress--in our front yard. And this is NOT a good time to sell. It's a beautiful house, but in a buyer's market where in this town alone there are 150 houses for sale. I'm most sad over losing the baby's sweet little nursery, which I spent all winter making ready.

I look forward to the day when "He Who Shall Not Be Named" gets his come-uppance. Oh and what a come-uppance it will be!

Saturday, May 5, 2007

Viva Zaragoza! Drewcifer's Cinco de Mayo Margaritas!


In honor of Cinco de Mayo, I’m gonna give you not one, but TWO of my secret special ‘rita recipes. Well, actually, I’ll give one of my established recipes, and then I’m going to concoct an all new “Cinco-rita” for the occasion.

1) The Silver Armadillo: This is a really simple and delicious “white” ’rita which has a refreshing, silky smooth taste. It should have very little green or yellow color, thus the name “Silver”.



Put lots of ice in a cocktail glass or jigger
Put a splash of Rose’s Lime Juice on the ice
Squeeze a little real fresh lime juice on the ice
Pinch a dash of margarita salt (aka kosher salt) on the ice
Big shot of blanco (aka silver) tequila (see suggested tequilas below)
½ shot of Triple Sec
Top off with Collins Mix (I usually use Polar)
Mix well
Wedge of lime and salt the rim to taste
Serve on the rocks or strain in to a martini-type glass for a chilled “straight-up” ‘rita.

Recommended Tequilas
Good: El Jimador Blanco
Better: Herradura Silver
Los Mejores: Espolon Blanco, Corazon Blanco, Corralejo
Blanco, Patron Silver

2) The Margarita Cinco-Cinco: I figure since its May 5 (5-5), let’s make one with five main ingredients.

Uno: Good Reposado Tequila
Dos: Presidente Mexican Brandy
Tres: Gran Gala Liquer
Quatro: Orange Juice
Cinco: Grenadine
(This is sort of a cross between a Presidente Margarita and a Tequila Sunrise)

Put lots of ice in a cocktail glass or jigger
Put a splash of Rose’s Lime Juice on the ice
Squeeze a little real fresh lime juice on the ice
Pinch a dash of margarita salt (aka kosher salt) on the ice
Big shot of Reposado
¼ Shot of Presidente Brandy
¼ Shot of Gran Gala
Top off with Orange Juice (or Polar Orange Dry)
*Dribble a little Grenadine in for color – “Montezuma’s blood” (don’t use too much because it will make the drink overly sweet)
*Mix well and pour in to appropriate glass BEFORE adding Grenadine
Garnish with a wedge or slice of orange


Recommended Tequilas
Good: Sauza Conmemorativo, El Jimador Reposado
Better: Chinaco Reposado, Cazadores Reposado, Herradura Reposado
Los Mejores: Centenario Reposado, Corralejo Reposado, Patron Reposado


Viva Zaragoza!

Friday, April 27, 2007

Grand Theft Parsons


Just saw a funny but soulful indy film on IFC (Independent Film Channel): "Grand Theft Parsons"(2004), the true story of how Gram Parson's road manager, Phil Kaufman, stole Gram's body and cremated it in the Joshua Tree desert. Got a little misty at the end. It's a great story, told here with humor and heart. It was not well-reviewed, apparently, but being a huge Gram fan, I liked it.

http://en.wikipedia.org/wiki/Grand_Theft_Parsons
http://www.gramparsons.com/
PS: Here's a good account of the actual events: http://ebni.com/byrds/memgrp6.html#Lgods

Lila Downs, Mexican-American Diva.


As summer slowly begins to warm away the cold shadows here in the northeast, one’s thoughts may turn to good summer listening. Being that it's almost Cinco de Mayo, let’s choose Lila Down’s “La Cantina” (2006). This CD will get the car-stereo pumping while you make those windows-rolled-down summer road trips.

It was The “Frida” Soundtrack that first brought Mexican-American singer Lila Downs to my attention, followed by her subsequent stellar performance on The Oscars in 2003. Her voice soars through the film’s songs, “Burn it Blue”, and “The Floating Bed”. She also appears in the movie, as the breathless gypsy singer in the smoldering tango scene between Salma Hayek and Ashley Judd. Lila’s alluring sound caught my ear, big-time.

Lila Downs’ story is an interesting one; being the offspring of an American father and Native-Mexican mother of Mixteca heritage, she grew up bouncing between Mexico, Los Angeles, and Minnesota. Her dad was a college professor whose academic studies brought him to Oaxaca in the 1960s, where he met and married Lila’s mother. As a small child, la “chiquitita” Lila sang the popular mariachi and ranchera songs of southern Mexico. After her parents split up, Lila spent a good portion of her childhood in the US with her dad, eventually attending the University of Minnesota (how much farther from Oaxaca can a body get?). Naturally she became somewhat Americanized, developing a love of classical and jazz, as well as rock and roll. Hippie Lila dropped out of U of M and even became a Grateful Dead-Head for a time, following the band from show-to-show in a VW bus and making her way by selling jewelry.

As she grew in to a young woman, the Oaxacan blood in Lila began to stir, then to pulse, then to pound. For one thing, Lila looks strikingly Mexican. Her jet-black hair and sculpted Indian features remind one of Frida Kahlo herself. Other similarities are not entirely accidental, as Lila has often referred to Frida as an inspiration and muse. Her tightly braided mane and colorful Mexican frocks summon the iconic image of Frida, to be sure. In the ‘90s, Lila answered the call, moving back to Oaxaca. There, while singing in clubs, she met American ex-patriot and jazz saxophonist, Paul Cohen. Their artistic collaboration (and romantic partnership) has resulted in some of the most eclectic folk-rooted music being made today. As “All Music Guide” puts it, “She has created a very individual strain of song that has indigenous Mexican roots and North American sonorities.”

The first fruits of the Cohen-Downs collaboration were a couple of cassette-only releases which leaned more to the jazzy/world-music side of the fence. By the late 90’s a more deep and folkloric style began to emerge in the music. In ’97 came the first CD, “La Sandunga”, whose standout track is a heart-wrenching rendition of the Chavela Vargas tragic ballad, “La Llorona” (the pioneering and legendary ranchera queen Vargas is another great influence on Lila). By the time she released “Tree of Life” in 2000, the lyrics of which were derived from the religious codices of the Zapotec and Mixteca tribes, Lila had found her voice. The result is an exotic sound, richly infused with layers of Euro-Spanish, Latin, and native Mexican music. Lila delivers the songs like a torch-singer; like a Diva, using her voice’s incredible range of pitch and tone to express the emotions of each piece. Against a black-velvet backdrop of Spanish guitar and native percussion, she conveys a jazzy sense of world-weary sophistication on songs like “Xquenda” and “Luna”.
2001 saw the release of “Border (La Linea)”, followed by the Latin Grammy award-winning “Una Sangre (One Blood)” in 2004. Both of these LPs weave an increasingly colorful cultural tapestry, incorporating traditional songs and instruments. Lila explores styles like norteno/Tejano, ranchera, mariachi, and even reggae on these releases. The “Border” LP is especially compelling, telling the story, occasionally with English lyrics, of the immigrant crossing the border from Mexico for the dream of a better life in the USA.

Lila’s latest work, “La Cantina”, pays homage to canciones rancheras; traditional, tequila-soaked ballads of the Mexican cantina bar. Cantina culture is central to small town life in rural Mexico, having given rise to cantina singers and table dancers, and a wealth of popular, heartbroken songs.

An excerpt of Billboard.com's review of “La Cantina” says this: Downs' dark, smoky voice is the perfect vehicle for these (ranchera) songs, which juxtapose the deep emotion of fado and mariachi music with norteno and tejano influences (notable especially on those songs that feature the legendary Texas accordionist Flaco Jimenez). Everywhere you turn there are deeper complexities lurking beneath the already complicated surfaces of the songs: the quietly wailing clarinet that follows the distorted guitar solo on "Agua de Rosas"; the ska-funk inflections that are constantly hovering around the edges of "Tu Recuerdo y Yo"; the dubwise phase-shifting effects on "Cumbia del Mole" (a song that explains how to make one of the more popular Mexican sauces, and which is helpfully performed in both Spanish and English versions). Very highly recommended. ~ Rick Anderson

The LP’s opening track, “La Cumbia del Mole” has instantly become one of my favorite tunes of all time. While spending some formative years growing up in Texas, I fell in love with certain Tex-Mex styles, especially the cumbia, an infectious Afro-Latin dance rhythm with origins in Colombia. The Tex-Mex or Norteno version of cumbia, typically played by small border bands called “Conjuntos”, adds melody to the rhythm with accordion and an almost klezmer-like snake-charmer clarinet (picture a guy in a fez). Yes, that’s right, Mexican and Tex-Mex music has German, Bavarian, Polish and Czech influences. Weird but true. Listen to the trumpets in a good Mariachi band. If they were a little more sober, slightly less slurred, they could pass for those of the German beer hall. The classic “Arboles de la Barranca,” covered by Lila on La Cantina, is a great example of the strong Germanic influence in Mexican music, with its anthemic trumpets and oompah-pah brass. I have seen and danced to great Texas bands like Brave Combo, performing polkas and cumbias. My favorite Tex-Mex artist is the almighty king of accordion, Flaco Jimenez, who appears as a special guest on "La Cantina". I have had the great pleasure of enjoying Flaco and his Conjunto on several occasions. If you can remain seated during a good cumbia, well, either you need another shot of tequila, or you have had one-too-many, and have passed out. (I also love a good mole sauce -“mole” meaning “the grind” or “ground”- a notoriously hard thing to make, because it typically involves dozens of ingredients. Why do most Mexican restaurants in the U.S. NOT have mole on the menu? Simple; it’s too complex and time-consuming to make!)

Like a delicious mole, Lila’s voice is dark, chocolaty and full of rich, smoky spice. La Cantina’s second track, “El Corrido de Tacha” is an example of the Tejano/norteno style at its best. The song tells the story of a country girl, still a teenager, who catches the bus to Mexico City to become a table dancer and singer in the cantina. Flaco’s accordion does some deft dancing of its own on this track. Next up is the soulful “Agua de Rosas”, a journey of healing, showing Lila’s more delicate side. The instrumental breakdown features a very Santana-styled guitar solo over a Cubanesque minor-key mambo. “La Cama de Piedra” and “Penas del Alma” are examples of the slow, weeping waltzes which are as much sobbed as they are sung. Their message: “Entre copa y copa” (from one glass of mescal to the next) we drown our sorrows and count our miseries. On a brighter note, the delightful “El Relampago” (The Lightning Bolt) is a refreshing treatment of a Mariachi classic. The lyrical violins and famous “ly ly ly's” make this one of our favorite warm-weather, top-down tunes. “La Tequilera” is another Tex-Mex number about a cantina “regular”; the female tequila-lush. Accompanied again by Flaco’s irresistible accordion, Lila sings the song with hiccups, sighs and “oys”, as if soused herself! (Apparently Ms. Downs is no stranger to the joys of agave!) Throughout the album, Lila adds unexpected modern production treatments, yet remains extremely loyal to the source material. Wonderful!

"La Cantina" makes you want to quit the daily grind, buy a casita in somewhere south of the border, and live a tequila-splashed life full of fiesta, music and mucho mole!

NOTE: This LP should be listened to while enjoying ONLY top-shelf, 100% blue-agave Tequila. My recommendation (if you can find it) Corralejo Reposado! Salud!

http://www.liladowns.com/index_en.html
http://en.wikipedia.org/wiki/Tejano_music
http://www.flacojimenezmusic.com/
http://www.tequilacorralejo.com/

Thursday, April 26, 2007


Drewcifer’s Recording 101 Primer

Spring Mixing Tip: Pre-delaying the Reverb

You don’t hear a lot of heavy or obvious reverb on modern pop recordings. The vocals tend to be very up-front and dry. But are they really dry? Is it possible to add depth and dimensionality to vocals using reverb that is extremely subtle? Absolutely! It’s done all the time. One way to accomplish this is to pre-delay the ‘verb. That’s why that “pre-delay” parameter is a feature on most modern reverbs, be they plug-ins or outboard. It wasn’t always so easy: Back in the days of the analog pioneers, the mixing guy would send the vocal-signal through a delay unit, usually a tape delay, which was daisy-chained in-front of a plate reverb. This delayed the onset of the reverb by 50ms to 100ms or more. The gap between the dry vocal and the reverb makes the vocal stand forward more, sound “drier”, and not be “swamped” by the ‘verb. In the end result, the reverb may not be obvious at all, but if it was removed you’d definitely notice something was missing.

It's All About The Tone, Baby!