velvetkevorkian

I'm pretty comfortable with the definitions and use of polyrhythms/crossrhythms/whatever, I was just curious to see which terminology people used since everyone seems to think I have it the wrong way around. In fact, everyone else has it the wrong way round

[quote name='tayste_2000' post='27660' date='Jul 5 2007, 11:01 PM']Don't take this the wrong way but are you on crack?[/quote] +1 I can't stand the f**kers.

[quote name='The Burpster' post='27366' date='Jul 5 2007, 11:49 AM']Beauty is they say in the eye of the beholder.......! Looks like an old knacker to me, but then what do I know? [/quote] I'm inclined to agree. Other people's dents don't really do it for me.

Coooooooooool. I was hoping to see them with Gnarls Barkley last year but they pulled out of that one Glasgow show. Might try and make it through for this.

The basic principle is very simple but the execution and exploration can be as complicated as you like.

The most musically complete and inspiring band I know of who I keep coming back to are Opeth, with Martin Mendez on bass.

If the different parts are in different time sigs but the same tempo (ie 6/4 drums and 4/4 bass, two seperate parts that line up every 24 quarter notes) that is a polyrhythm. If the different parts are in the same time signature but with different rhythmic groupings (ie a bar of 4/4 with a guitar playing straight 8ths and bass playing triplet 8ths) that is a crossrhythm. That's how I've always worked it, but it seems a lot of people use these terms differently. Any comments? This was sparked off by [url="http://www.talkbass.com/forum/showthread.php?t=343517"]this thread[/url] over on T*lkb*ss.

I use it all the time, even for slow things. For me there's no real disadvantage, but I get so much more agility from it. I play ring-middle-index all the time.

Once you go three fingered you'll never go back. Well, I won't anyway. Two just seems so inefficient.

IIRC the optimum volume for a 2x10 was around the size of an average 8x10.

I think he's suggesting that the bass will sit at a very high angle- the headstock will be much higher than the body. I'm not sure where he's getting this from though as the body and top horn are fairly normally situated, in comparison with a Fender or something similar.

My grippskillz aren't really suitable for discussion on a family friendly forum.

This sounds cool. I'd go with LEDs, no blocks and no pickguard if it were me. Look forward to seeing this one develop.

I use MIDI for programming drums in Cubase, and I also find Sibelius' "export as MIDI" function invaluable- I can write a score in Sibelius then just export it into Cubase and patch it into VST instruments for instant orchestral goodness. I'm also looking at getting a MIDI controlled rig at some point- I have a Boss VF1 and would like to add a Pod at some point, both of which can be controlled in quite a lot of detail via MIDI. Ultimately I would love a bass with a pitch to MIDI convertor and a synth rack of some description as well, but that's waaaaaaaaaaay away, and entirely theoretical.

I use Cubase for recording (really, for programming drums mainly), but also use Sibelius as a score editor which I then export into Cubase as a MIDI file and hook up to VST instruments

Nifty!

I acquired that Class D module from Mr Dood and as far as I can tell it is indeed a quality piece of apparatus. Totally silent both acoustically and electronically to my ears, and awesomely small.

Just now I'm listening to Cynic's "Focus", with Sean Malone on bass/Chapman Stick. Technical metal legends, light years ahead of their time IMO. They released this in 1993, most of the rest of the world is still catching up. Progtastic.

You could just gaffa tape the wall warts to the back of the rack? Cheers for the reply.

Not quite sure I get what you mean here... are you basically talking about rehousing the transformer and putting a kettle lead onto it to go to the power socket? Or have I got that backwards? Slightly off topic, but could you explain in a bit more detail how you racked your half rack devices?

I have heard glowing reviews from a local teacher (and former RSNO member) about the eBay violins and violas- he bought several to sell to students, and ended up keeping one and selling the other on at a profit if I recall correctly. Sadly I've heard nowt about the basses. You could also check out [url="http://www.urbbob.com/doublebass.html"]Bob Gollihur's Bulgarian basses.[/url] I recently took delivery of one of his full size five strings which set me back about £1700 all in- a normal size four string would be a few hundred squid less I think. I'm quite pleased with mine, especially for a good pizz sound- the bow sounds a little harsh but I think different strings (when I can afford them) or possibly a rehair of my bow may help that out. Its certainly very resonant, even brand new. There is a huge hole in the market in the UK between the sub £1000 "student" instruments and the £3000ish mark- hopefully these new Chinese imports will be more widely avilable sometime soon.

Ah s**te, forgot about the wall wart thing. I guess on gear that small (half of 1U) it would be impractical to put a full size power plug in.

A Boss VF1 from eBay is a good bit cheaper, and would replace your current EQ halfrack neatly. The bass "algorithm" includes a compressor and a four band totally parametric EQ- there's also a dedicated 10 band EQ algorithm. Just thought I'd lower the tone a bit on this high end outboard gear orgy

[quote name='stevebasshead' post='20941' date='Jun 20 2007, 06:23 PM']The gap left by the Aphex has been replaced by 84 (yes, 84 ) bright blue LED's. None of my gear had blue LED's before but I might have over compensated They're arranged behind a roll of semi-translucent plastic to blur out the individual leds and give a rack-wide and lush blue light. I'll post a pic if my camera phone does a decent job of it.[/quote] Now this I want to see. Even a crappy camera phone job will do.