BassTractor

From Wikipedia: Michelle Lynn Johnson, better known as Meshell Ndegeocello (/mɪˈʃɛl ndɛˈɡeɪoʊtʃɛloʊ/; born August 29, 1968), is an American singer-songwriter, rapper, and bassist. She has gone by the name Andrew M.L.J. Gowing which is used as a writing credit on some of her later work.[1] Her music incorporates a wide variety of influences, including funk, soul, jazz, hip hop, reggae and rock. She has received significant critical acclaim throughout her career,[2][3] and although she has never won a Grammy Award, she has been nominated ten times.[4] She has been credited for helping to have "sparked the neo-soul movement."[5] So I think it's safe to say he does look like that. Me, I'm confused by these modern gender things. Sigh. Getting old. 😉

🙂 Yup.

From what you've told so far, I still gather your best option is a sound module. There must be modules on the market that are aimed at your type of band, i.e. with piano, electric piano, organ and some fave synth presets. You wrote about a "good" piano etc., and I think it's essential to define what "good" is, as quality comes at a price. From how I understand you, you're probably looking at an OK-it-sounds-cheesy-but-we-only-make-50-quid-a-night!-module. However, a used module like a Yamaha MU128 (£250 used on Amazon UK) might be a solution. See vid below. As to Android apps, I'm wary of that idea for now: - For one, you're already using an app for driving your desk. How are you gonna control two apps at the same time? - Another thing is that Android traditionally was not the natural habitat for synth apps and the like (the iPad is), but I know things have changed to some degree. You could have a look at Bebot and Caustic 3, for example. A search should give some more results.

I hear there's a song called "Take Four", which is written in 4/4. Clever. No changes though, but then again we're on BC. 😉

You've made your choice, and I respect it. It's bloody stupid, but I bloody respect it. Also, it's absurd, but I respect it. Oh, and it's treason worse than betraying your country. but I respect it. ... Please stay? 😉 Seriously though, if you do not wish to stay-on-BC-and-just-use-the-C-only, which still is a good option, then I wish you all the very best with your endeavours! all the best, bert

Hehe. Me too, but let's just be grateful hundreds of fiddles and mandolins burned. All part of God's plan! PS and BTW in the interest of full disclosure: I own a fiddle, and a mandolin is the very next instrument I'm gonna buy. But still... 😉

As you seem to indicate, I was wise when demanding a 4-manual, 65 stop organ, and not a 1-manual, 6-stop one.

No such thing as a left-handed 4-manual 65 stop pipe organ. No such thing as a left-handed triangle. No such thing as a left-handed crash cymbal. Glad to be of service. 😉

Huh? I see a regular brass instrument mouthpiece, which in my world is defining. Or are you saying it's a brass instrument that still isn't family? In case, I'm with you.

Innersting! I wrote left-handed until the teacher in first form reached for the stick (he held strongly negative opinions about cack-handed people, atheism and playing his violin in tune 😄 ). As to the gun, part of me firing a right-handed gun is my left-handedness. My right index finger may well pull a trigger, but I need the control of my left arm for aiming and keeping a long gun steady. Me, I don't understand how right-handed people manage their right-handed guns, unless they're just all very strong and I'm a weakling. I've been wondering whether right-handed guns actually are adapted to aiming with the right eye. I wouldn't know. Tennis and table tennis are a fun subject to me personally, as I have two forehands and two backhands (though none of those four are any good). My tennis teachers hated my throwing (yes!) my racket to the other hand when I felt a forehand would serve (no pun) me better, but they couldn't fight my statistics. I guess pros are so quick that they have no time for throwing rackets in exactly this way (they do have time for throwing rackets in general of course 😄 ), but on my local level, it was an advantage - - duly frowned upon, coz no-one likes to play with/against someone with an advantage. I think there's a good chance many so-called right-handed objects are based on one early example of the object, whether it be a tool or a musical instrument, and that adaptation by users in those cases has been more important than we tend to think. In case, science could find out what really are left-handed and right-handed objects. Maybe science already has done something there, Idunno. I do know that some scientists say that the human eyes and the human brain together make left-handed traffic the better choice. Who knows.

Great contribution to this thread. I love it. We had of course been waiting for this pic from you. 🙂 Can we await more skeletons from your cupboard? You being a pro 'n' all?

OH! I found one of those reverse keyboard thingies: The Korg Poly-800. Yup! Sorry. Couldn't resist. 😊

A keyboarder like me, perhaps? Well, sadly I can't explain it. I did once own some sort of keyboard instrument that could play left-handed, but have forgotten the specifics. Something tells me it may have been a DX7 or a TX802 or both. Absolutely not sure though. I do remember connecting certain analogue monophonic synths to other brands, Korg and Kawai in one case, and getting reverse working out of that. Joe Zawinul had something that reversed his ARP 2600, but I've forgotten whether this was a one-of thing or similar to what I did: combining different brands with different specifications. Probably the 2600 keyboard with reversed PCB or resistor row. From Medieval pipe organs to and including electro-mechanical organs like the Hammonds, reversible keyboards would be near impossible or probably demand too much, but i see no technical problem for many electronic organs and all synthesizers - no matter whether the keyboard was scanned or had a row of resistors. These days, in a synth, the reverse thing could also be stored the very same place as the alternative tunings - - depending on specifications. At any rate: not a technical problem at all. 🎹

There might be a case for stating that if left-handed versions are not provided for orchestra instruments, that left-handed people have a higher risk of not being able to play those instruments well. In case, we initially wouldn't know, coz all violinists and flautists in orchestras are good at what they do. One would then need to find whether left-handed people are underrepresented before making statements. Left-handed versions have been built for some instruments that are not guitars, but IMS it was for finding out about these things - not as commercial products. On a more personal note, as a leftie, when I was young, before trying to play guitars, I was handed a left-handed guitar and really couldn't get on with it. Was then handed a right-handed one, and everything fell into place. Still, I believe I could've learned to play the left-handed one. As a leftie there's no chance I can throw a ball with my right hand, but there's also no chance I can fire a left-handed gun and hit the target. Idunno. It's complicated.

Yes, and they play together very well. In the song's opening, I only heard one spot where there's a slight discrepancy between them (didn't listen to the rest). Quality. If one gets a Clavi-like sound from a Future Impact or other gear, then I think the whole segment can be played on the bass, and there's no need at all to suppress the bass during the parts that on the recording are played by the Clavi only. Me, I love this exact doubling, and had the song's opening on repeat. Luvverly.

😃 Coincidentally, the Clavinet has much of the same hollowness that a clarinet has. Much like a Renaissance regal, which, like the Clavinet, had a sharpness to it. BTW, I now understand this song is from the seventies, in which case I know of no instrument that emulated a Clavinet this well. IOW, this most probably is just an original Clavinet, and as said, with some filtering going on, and I agree with the dash of flanging @SteveK mentioned.

Without any doubt a Hohner Clavinet or an instrument emulating it. Edit: Hehehe. Should teach me to learn to type. The above gentlemen are correct. 😁

A hollow Jazz with plexiglass top? Cool! ...and the police never find the stash you keep inside? Respec'!

Hadn't noticed before you said so, but they did indeed. As a result, I think it's safe to assume that: 1 - "Costumer Assistant" is correct too. IOW this is a luxury scheme that nobody should not apply for. 2 - They're not on BC. 😉

.

Ah. That there Derek Bailey fellow who plays pretentious stuff just because he's unable to write anything of value? The Derek Bailey that Merle Hazard was able to look through in mere milliseconds? That Derek Bailey? 😁 Seriously though, IMS, Derek Bailey knows every style intimately, and can be asked to do just about anything. I hope I'm not mixing up with a different person of roughly his calibre, but if I do then the point still remains: When guys like him choose to make plink plonk screech music, more than anything else, it's their love for music that makes them choose that. They do not throw away their time on pretence or pretentiousness, and why should they... Merle Hazard made a unique and funny vid, and I love it. It really is in the dark to me who is being "spoofed" here, and I believe it's about having fun rather than making fun of. Hazard was being a bit sly with this one, and that's part of the charm for me. The underlying themes though, generally about taking the fun out of music and exchanging it with pretentiousness, while long-lived and probably eternal outside this particular vid (also here on BC), if taken seriously, are simply wrong. Guys like Bach, Webern, Penderecki and Bailey simply exchange simple fun with more demanding fun - fun for different humans with different reference frames and... dare I say it?... different abilities. Nothing wrong with that, even when enough pretenders do exist amongst composers, players and listeners alike.

Same here, and in my case there's a pattern I don't understand fully: - No trouble ever with classical musicians, who are famous for being difficult people. I'm one and I hate us. - No trouble ever with jazz musicians. - No trouble ever with ad hoc ensembles for many types of projects. - Only slight trouble in a multi-style "double band" (just some people not turning up for rehearsal) - Trouble in a few rock covers bands, and it was always just one person who should've been kicked out but wasn't because people were being way too nice and including and tolerating. Worst band mate ever: a three tone solo guitar player in a pop&rock covers band. Our soloist mainly because he could hardly play a chord. This was in a five or six person band with democracy and veto rights for some songs. Planning on entering originals as we were developing as band, with the goal of playing 50% originals. So far so good. Guitar Star kept nagging about that we should exclusively play The Shadows covers, and that, as he was the guitar solo star, we others all had to indulge. After all, when five or six people get together, Guitar Star automatically is the owner leader of the band, right? No reasoning with him had any effect, ever. People lost the will to live, but still were way too nice, and tried to keep him in the band when he threatened to leave. My head exploded. BTW, today, 35 years later, when I meet one of the band members, there is no chance they will not talk about Guitar Star's antics. When people on a bass forum ask about the worst band mate ever, there's no chance I can resist the urge to relay the story. Made an impression, he did.

Grew up listening to Bach, Beethoven and Brahms, and from August 1963 tried to warn the grown-ups against that simplistic "She Loves You" music, strongly advising them to rather listen to the music of the greats. BUT WOULD THEY HEAR OF IT? 🤣 The rest of the story involves electronic classical music and other pretentious stuff before Prog opened the road to popular music in general, and Jaco and Stanley Clarke opened the road to all jazz for me. Long story short, my deep love for Ol' Atonal Music never diminished, but more and more stuff was added to it, and these days I'll listen to anything from traditional North Indian music to death metal to bluegrass to minimal music to opera to Goa trance to... Through many decades my record collection has seen a consistent ratio: 3 classical albums for every 2 prog albums and 1 jazz album, plus very few albums that are not in one of those three genres. My deepest, deepest love probably is for Bach and Penderecki, but if forced to choose just one style, I'd probably take no Bach to a desert island (just play it in my head), and maybe I'd leave the Penderecki at home too and just take all my prog albums instead.

😃 Now THAT would be great, if true. I'm not bothered enough to play Webern's complete works (just 6 LPs IMS) in order to check, but I hope this is true. Must say I remain sceptical though.

Does everything sound wrong to you or just the atonal bits played on the banjo or just the bits that are not the banjo solo? 😃 Without studying the score, I'm convinced the banjo player just plays some random notes to illustrate (I know there's a better word) what "atonal music" is perceived to be by many. The rest of the song sounds all wrong to me personally for quite different reasons, and in my ears it's written either as a spoof of bluegrass* music, or written by someone unable to write a good song in that style. *) I'm using the term bluegrass without checking whether this song might fall into that category.