Vangelis the evil genius at work

This was posted on Facebook, Vangelis rocking some pretty amazing kit and showing off his orchestral chops with his feet flitting about various controller pedals. Pretty amazing stuff. 
 
https://www.facebook.com/...hp?v=10203159244322111

yorolpal
Horse****.

Now be nice.
(There are horses around.) 

My favorite parts were the cryptic vin diagrams (i.e. patch changes and key assignments) and the worlds largest expression pedal collection. But, like Big Daddy says in "Cat On A Hot Tin Roof", "I smell mendacity!"

Perhaps live he does utilize proprietary diagrams and hardware setups to achieve a desired sonic goal...but this was not that at all. This, whether performed at a sitting and live "of a piece"...which I sincerely doubt...was dissected and remixed for the video plain and simple. One (knowledgeable twits) opinion. Artifice at best. Charlatinism at worst. YMMV.


PS: as to how we musicians are able to replay accurately performances we have previously rendered is a little trick...

We call it memory.

Now THIS is music notation. 
 

Looks like 3 dolphins leaping out of the sea because someone dumped a rotary washing line in it.

Hi,
 
Just shows you what a DAW can't do, because you can't visualize it fast enough while playing it!
 
Wonderful stuff, and I will say that if there is a person I would love to see in concert in my life, Vangelis is the only one I would love to have a chance at seeing.
 
I doubt, however, that his equipment can be carried around, and not suffer. But it also tells you what he says most, and that is the reason why he doesn't do concerts is that he likes to free flow everywhere, and it would require him to figure out how to put all the parts together within a concert frame work, and the great pieces, like "Heaven and Hell" and many others would be nearly impossible to bring about.
 
With an orchestra this can work, however, his composition style is totally free form and he adds and subtracts as he goes along, and this shows in the piece you just heard. I doubt that he can play it again, the same, as he just did there for you, and the 2nd time it would be different to your ear and mine.
 
You can tell that someone matched up the keyboard setup to match his composition style, and be able to add different things anytime he felt like it. As such, he shows you a "stage" setup that is almost similar to Klaus Schulze, who also uses a mixer on his left to define the rest of his work. You can see this in the series of live concerts he did with Lisa Gerrard (Dead Can Dance) and how he handles the instruments and adds and subtracts things and moves along ... and the audience cheers when he says that afterwards he would do a "sequencer" piece.
 
In so many ways, these people are so far and away involved with that they do, that it is almost impossible to many folks that tend to appreciate only pop music to understand and feel this kind of work, and this is probably much closer to the future of "classical music", but also something that the rock/jazz world can learn from in terms of composition. It doesn't have to be tied to one note or chord, and it can be tied to a passage of music, or a specific sounding sentence in the whole thing. 
 
In the sense, just mentioned, a lot of rock and jazz music is far to simple to become more "serious music" as Frank Zappa used to like to say. I still think that the only thing that modern orchestras are missing is the rock/jazz instruments and then compositions that also allow them their freedom of expression, to help create new music.
 
Very nice indeed, and still, after 45 years, one of my favorite musicians, and a special one, that will be enshrined in the history of music as a composer. Beautiful work, that stands up to the best composers of all time!