Bilbo

I did one of these camps earlier this year (near Southend). Never again. All seemed pretty pointless - we didn't want to be there and they didn't want to watch us.

[quote name='chris_b' timestamp='1409144123' post='2536771'] I don't know anything about Gary Willis [/quote] I just know his videos are on youtube (not seen Prestia on there - but, then again, I haven't looked )

I have to say that I absolutely respect any artist who refuses to rely on their old hits. Any fan of Kate Bush knows that her approach to her art is based on a very personal concept of integrity and is not led by the idea of 'giving the people what they want'. Jazz artist who continually regurgitate their old hits are given pretty short shrift and playing the solos 'as on the record' woudl see them laughed out of a theatre. I believe you should expect what the artist is prepared to give. If you want the hits, play the cd.

Nah. I played yours 27 times.

6 participants, 5 spectators. It's like a PCC election!

Look up Gary Willis's right hand technique (it will be on youtube). You will find what you need in there.

For me the real beef is geography. People in larger population centres can get other players around them and make great music. When you live in the sticks, you can't play a lot of the music you woudl like to because the players are not htere. I work regularly in a duo with a Brazilian guy. We would love to put together something more substantial with full-on Brazilian percussionist but there just aren't any for hundreds of miles. Mostly the same with Jazz. One good drummer leaves the area and it immediately compromises everything you want to do. So move to the city? Yeah - and spend your whole life making the rent and living in s sh*tty area surrounded by concrete. Tough breaks and I live with the choices I have made but wouldn't it be nice if the people you wanted to play with were nearby?

These acts are generally embarassing and the only way it will stop is if people wake up to the fact and tell them. IN the meantime, money (or the lack of it) talks. It is interesing that 'Live' now means tapes and 'Bands' now means as many vocalists as you like but no-one that can actually play anything

Lowdown got my vote. Interesting ideas nicely articulated.

Thanks for the pointers, guys. Will check them out. Not heard of freezing tracks!!

I have this IT problem where the mix I finish in Cubase doesn't transfer in it's entirety when I do an audio mix. Some does but not all of it. So what you hear is an approximation of my mix

Here's mine for this month https://soundcloud.com/robert-palmer-1/salome

Gotta be Pharrell.

I have learned a lot about the recording process this time. For instance, I had an awful crackling sound that I assumed was the PC no being able to handle the amount of processing required to allow for the number of VSTs I was using but, after some fiddling, I relaised that I was using the same VST effect on too many channels so, as soon as I turned them off, the noise stopped. I added them again one by one and then used alternatives to achieve the same reverb and echo effects and achieved my intended end without the noise. That is just one example. Got much better levels this time, learned a bit more about Miroslav Philharmonik etc. Brilliant fun. The composition is coming together ok but I always have this trouble with getting VSTs to sound organic and it all sounds a bit 'sequenced'. I guess that's the nature of it.

Totally agree. And not Sheehan chops, GROOVE chops!!

Biggin' up Mars who played with Tommy Aldrige and Pat Thrall in Pat Travers' Band. I am listening to their Crash and Burn album and loving the vibe. Great production from Travers and Dennis Mackay. Check it out if you get a chance.

Whenever I see a double bass for sale, I have a look just out of interest. WHat amuses me is that, whether the bass is £15K or £500, the photos as look the bleeding same to me

Jimmy Guiffre Trio - The Jimmy Guiffre Seven

Not the opening notes of Silly Putty? There are drums in there but the bass is very exposed.

I think I finished recording my piece last night. Now it is mixing and tweaking before submission.

At least I know now. What kind of gigs are you looking for on it?

Will try those ideas. Thank you.

I lived in Farnham for about 7 years and bought an SWR Baby Blue amp at the GV. It's a great shop but I cannot recall any basses when I was there (my amp was a second hand one someone had traded in). They must have had some but all I can remember is cheap sh*t, massive hollow body Jazz guitars for £5k and a British Racing Green Fender Strat for £20K+. I certainly never tried a bass out in there (but I hardly ever try basses out as I am never seeking actually to buy one )

Phew! I thought that damn penguin had done for me.

Added some ES175 lines last night and followed Dad's advice and moved the 'slow' instruments forward a tiny notch. Seems to have sorted the problem nicely. Lesson learned. I also copied some parts and double them up which filled things out nicely, as did chaning the Philharmonik string pads from 11 strings to 23. I have an irritatingly quiet flugelhorn/trumpet part that I need to change to something with more presence. May try oboe or clarinet or even English Horn. My composition has essentially based around three counterpoint lines (4 but one is minimal) that all need to be heard simulaneously. I am trying to find a way of bringing each line forward without creating a mush. It is all in the arrangement but this is compromised by the technology so I have to find an alternative means to get to my intended end.