Well the day has finally arrived...

February 22, 2023  /  Mike Pensini

It was always my dream to own an Oberheim OB-X/Xa/8 and today that dream has come true as I add the awe-inspiring Oberheim OB-X8 to the studio. This series of instruments were simultaneously the sound of my childhood as well as what I imagined the future to sound like. Still gives me goosebumps to this day. Big shout out to Oberheim, Sequential and Focusrite Australia - absolutely incredible!

"The Christmas Song" is now out!

December 16, 2022  /  Mike Pensini

The season is upon us! As a little something special for this time of year, I got together with my good mate and talented vocalist Rhys Tolhurst and produced our own smooth, funky take on the classic “The Christmas Song”! Available to stream now on your favourite music platform - Enjoy and have a great holiday season!

"Imagine" by Expressive E

September 10, 2021  /  Mike Pensini

The good folks at music software and hardware company, Expressive E (makers of the Touché and Osmose) have just released a wonderful new physical modelled synthesizer plugin called Imagine!

To quote: “Imagine digs deep inside the body of real life instruments, modifies and combines their acoustic characteristics to create an imaginary acoustics landscape. Thanks to a playful multidimensional approach, Imagine offers texture manipulations, mysterious unknown sound dimensions that still sound familiar.”

Here is a video I put together featuring a number of sounds from Imagine - join me on a sonic journey!

You can find more info on this wonderful synth at: https://bit.ly/3tyHNND

Mike Pensini's Synth of the Day - Ep2: Yamaha DX7 & UAFX Golden Reverberator

August 22, 2021  /  Mike Pensini

Welcome diners! I must say I'm very proud of today's Synth of the Day special. Being a child of the 80s, the Yamaha DX7 has always held a very special place in my heart. While it's well known for its sharp, tangy flavours, beneath its shell lies a sweetness, lushness and richness which, when combined with a luscious reverb (in this case the incredible UAFX Golden Reverberator) creates quite a delectable result.

For those of you cooking at home, the beefy Yamaha DX7 polysynth patch is seasoned with the "Hall 224 - B" setting in the UAFX Golden Reverberator, and the sweet lead patch is delightfully accompanied by the "Plate 140 - B" setting.

Enjoy this original concoction, entitiled "It's All Love" - and as always, subscribe and turn on the bell so you don't miss the next Synth of the Day special! Bon Appétit!

Mike Pensini's Synth of the Day - Ep1: Moog Grandmother & Moog Sub 37

August 21, 2021  /  Mike Pensini

Welcome to my new video series, Mike Pensini’s Synth of the Day! Focusing on one (or two) synths from the collection each video!

Today's 2 for 1 special features the delicious analog warmth of the Moog Grandmother and Moog Sub 37 analog synthesizers in an original composition entitled "Hope". Everything played in one take and no processing apart from a slight sprinkling of Valhalla Delay seasoning on the Moog Grandmother. Bon Appétit!

tags / synth of the day, moog, sub37, grandmother

"Celestial Drive" - Sub37 IsoJam Starter!

July 19, 2020  /  Mike Pensini

Here's the latest IsoJam - something a little different using the wonderful duophonic capabilities of the Moog Sub37!

Musicians - feel free to jump in and jam along, upload and be sure to tag @mikepensini and #mikeisojam. You can find the link to the original video file below.

If you'd like this patch to load into your Moog Sub37 or Subsequent 37, you can purchase it for the red hot price of $1.90 AUD here!

Celestial Drive - Moog Sub37/Subsequent37 Patch

Here's the original video file for my fellow musicians (118 BPM):

Celestial Drive - Playalong Video

Just when you thought it couldn't get any funkier...

April 14, 2020  /  Mike Pensini

What do you do when you're stuck in self-isolation and practicing good social distancing because of COVID? Keytar. That's what you do.

Feat Tim Coghill with an unrelenting drum groove and Caleb Shand with a bassline that should be illegal. Enjoy.

For my fellow synth heads, all sounds you hear are coming from Spectrasonics software - either Keyscape, Omnisphere or Trilian - all triggered from an Alesis Vortex keytar.

Head over to my YouTube channel and subscribe for more videos!

REVIEW: Reminiscence of a gig: Richard Pavlidis – Origins Live at the MRC

April 08, 2020  /  Mike Pensini  /  Source

Thank you to Stephen Hornby from Australian Jazz for his review of the recent Richard Pavlidis gig at the Melbourne Recital Centre. This was a particularly special gig and the band was on fire. Looking forward to the next one when we're allowed out of self-isolation to gig again! 😂

Richard Pavlidis – Origins

Live at the Melbourne Recital Centre

Friday 7 February 2020

As silence filled the salon at the recital centre, Ben Charnley’s cymbals act as a call to attention. The drummer lets their resonance hang in the air before launching into a burning, up tempo swing feel. Charnley and bassist Jordan Tarento’s light, bright groove bubbles along under Richard Pavlidis‘ languid melody until the band stops and Pavlidis launches into a fierce extended solo. It is reminiscent of a fight scene in an action movie in which Pavlidis plays the hero; his own piece of music – the challenge he has set himself. He toys with a simple motif, working it through the chord changes of the piece as if engaging in some light-hearted sparring before unleashing in earnest. The hero takes a few hits which adds to the drama. He dusts himself off and we know he has his opponent pinned when the torrent of rapid fire arpeggios build his solo to an exhilarating climax. The second soloist, pianist Mike Pensini, is a complete walk over. He barely raises a sweat as his fluid 8th note lines carve their way through this complex piece.

Richard Pavlidis is a respected Melbourne based saxophonist and composer who has made a name for himself within the Melbourne music scene through his work with various bands including Neon City Pilot, The Senegambian Jazz Band, Sex on Toast and Kingswood. In the last couple of years however, he has come into his own as a bandleader. Last year he released his first solo album, Without Within, comprised of entirely original compositions. This fertile creative period continues as he premiered several brand-new compositions at the Recital Centre that will be recorded and released later in the year on an album called Origins.

Pavlidis’ music sits comfortably within the modern jazz tradition established by artists such as Herbie Hancock, Wayne Shorter and Pat Metheny. The late acoustic releases of Michael Brecker are a particularly important reference point for Pavlidis. In addition to these influences, rock and pop artists like The Beatles, Queen and David Bowie have shaped Pavlidis’ song writing and song structure in a more conceptual way.

Despite the fact that his music is entirely instrumental, there is a desire to tell a story and capture a particular mood with each piece. He accesses a range of emotions to suit the intention of each piece, his improvisations serving the song as opposed to the composition being a vehicle for soloing.

The pace of the evening shifted in the second song with a new piece titled ‘Cycles’. The rhythm section’s cohesive sense of groove and ability to interpret and manifest Pavlidis’ vision for each piece was especially evident on this slow, moody song. Pavlidis alters his tone for this more subdued melody. His notes grow almost out of nothing, giving his sound a smooth quality, which is equally reminiscent of Jan Garbarek as it is of Kenny G. After the groove has been established and the melody stated, the piece takes an unexpected turn as disorientating chords, angular lines and a blurring of the pulse leave us feeling as though the ground beneath our feet is crumbling. Pavlidis holds the floor throughout the changing landscapes like a front man conveying a narrative, the band eventually weaving their way back to the original groove.

The next piece, another premiere titled ‘Four ones’, seems even faster and denser than the opening tune. Both Pavlidis and Pensini are up to the task. Pavlidis’ approach to improvisation is equal parts spontaneity and structure. He begins with intuitive thematic development, each phrase following on logically from the last. He creates momentum by stringing together a series of fast cleanly executed licks. Charnley is quick to respond, breaking up the consistent swing pattern on his dark ride cymbal by drawing out washier colours whilst maintaining a solid groove. Pavlidis builds his solo to a climax with an unrelenting stream of repeated riffs before releasing the tension into the hands of the next soloist. Pensini’s solo on this piece is particularly brilliant. He balances his effortlessly flowing scale passages with thick, two-handed chords. He builds intensity with McCoy Tyner-esque left hand bombs and contrapuntal lines, a la Brad Mehldau. Again, Charnley responds with jabs from behind the drum kit and the audience respond with excited cheers.

The title track of Pavlidis last release, ‘Without Within’, is a chance for both soloists to explore some more subtle textures. Pavlidis lets loose on the outro, juxtaposing complex diminished runs with heart felt blues licks and wailing altissimo (high notes). This is followed by a fresh take on one of Pavlidis’ older pieces, ‘Up Late’, which is practically a jazz standard and is included in the Australian Jazz Real Book. The feel is cleverly disguised in the beginning before Tarento settles into the straight 16ths groove with beautifully voiced broken chords on the upright bass. The next piece begins with an aggressive exchange between Pavlidis and Charnley. It’s great to hear Pavlidis play in this Avant-Garde tinged style without a set chord structure. His ideas flow naturally and his playful approach is undeniably Sonny-Rollins-inspired. The band’s collective foot eases off the accelerator as the intensity finally subsides for a stirring ballad performed as a duo with Pensini. This piece has a distinct vocal quality. Pavlidis’ treatment of the melody calls to mind a virtuoso diva belting an emotional power ballad.

As the band approached the final song of the evening, the audience felt the tension in the air dissipate. Now it was time to have some fun and the final piece, ‘Someone’s Version of the Blues’, provided that opportunity. It is a spacious modal piece that allowed the whole band to stretch out. The outro is built on a grungy rock riff that Pavildis has adapted for saxophone, complete with metric modulations, a jilted groove and saxophone shredding over chromatic harmony.

Throughout Pavlidis’ performance we got the sense that every element of this hour-long event had been carefully considered – from the pacing of the evening, the song selection and the range of moods expressed down to the musicians selected and the level of focus they brought to the performance. It was obvious that this performance meant a lot to each of the musicians involved and expressed something very personal for Pavlidis in particular.

It left me with a feeling of gratitude to have been taken on this thoughtfully curated, beautifully executed journey.

EJF-KP-5D3-8646.jpg

2020 is off to a flying start!

January 10, 2020  /  Mike Pensini

Happy New Year everyone! Hope your holiday season was filled with everything wonderful and the New Year’s resolutions haven’t slipped too far!

2020 is shaping up to be an exciting year here - kicking off with some fantastic concerts with amazing artists such as Richard Pavlidis, Kylie Auldist, Joel Sena, Niels Rosendahl, Kath Halloran and Phoebe Day just to name a few.

Also, super exciting news - I’m delighted to be invading your lounge rooms every Sunday evening from the 9th of February with the 2020 season of Dancing With the Stars - live to air on Channel 10. The band this year is absolutely killer, so tune in at 7:30pm for some great entertainment!

Check out the Gigs page for upcoming live performances - look forward to catching you at one soon!

Mike x

In the recording studio with Richard Pavlidis

November 15, 2019  /  Mike Pensini

Just finished a very rewarding couple of days at Newmarket Studios in North Melbourne recording with the very talented saxophonist Richard Pavlidis for his upcoming album. It also features Tamara Murphy on bass and James McLean on drums. We’ll be laying down some analog synth layers and EWI in my studio here and then it’s off to mixing and mastering. Richard is an outstanding musician and composer and I can’t wait for you all to hear what we’ve put down.

Here are a few shots I took at the session:

Jamming on the new “White Grand” from Nord

June 22, 2019  /  Mike Pensini

One of the things I love about my Nord Stage 2 and 3 keyboards is the fact that Nord are constantly developing new sounds for them that can be freely downloaded from their website and transferred into the boards.

They’ve just released the “White Grand” which is a beautifully sampled grand piano which feels great to play and sounds rich and detailed. Here’s a video I put together jamming on it:

YouTube Channel

March 19, 2019  /  Mike Pensini

If you haven’t been over to my YouTube channel yet, make sure you head on over and check it out/subscribe! It’s regularly updated with all things synth and music. You can check it out here:

www.youtube.com/mikepensini

Here’s a playlist of some of the synth performance videos you can find over there:

Orchestral Cues with the Espressive E Touché

March 07, 2019  /  Mike Pensini

I’ve been writing a lot more orchestral and film based material lately - was the perfect opportunity to give the new Arché Cello from Espressive E a whirl, using the Touché as a touch controller.

It’s like playing a new musical instrument, in that it takes practice to master and get the most out of it - enjoying the learning process. I’m a big fan of any controller which lets you add expressiveness to a performance.