clarket2

Hi all Wondered if I could ask a bit of advice on how people deal with audience members coming on stage uninvited and disrupting the performance? I get its an occupational hazard but there is a balance between being respectful to audience members and keeping performance going but also protecting yourself and your equipment. Was just interested in strategies people have learned for navigating/reducing this as a problem? 99.9% of audience members in my experience get it and are respectful and even those that want to come have a sing along with the band can be fine. I'm talking more about when people (due to drink/other reasons) don't stick to the boundaries that keep performers safe and/or keep the performance going. Some examples that come to mind from the past few years are: Trying to play instruments (while in use by the performers) Taking back up instruments off stage Playing with amps/pa gear Climbing on equipment Inappropriate physical contact Aggression (both verbal and physical) Thanks as always Tom

https://www.amazon.co.uk/Three-Note-Voicings-Beyond-Guitar-Solo/dp/1883217660 is the amazon link but a lot of it can be translated to a bass with a high c from memory

There's a lot in 3 note voicing and beyond that might be of use?

The double thumb technique might be more forgiving in that context? Just a thought but slapping through and resting on the string below might be more reliable. 16mm is always going to be tricky though

Also I may not have appreciated how expensive starting this thread might be.... some of these look rather cool

Mostly things about using blank loops were the real eureka moment for me

Hi all, I have been getting into pedals semi-seriously over the last few years and have slowly been building up a board for experimenting with new sounds etc. From reading these forums there is clearly a depth of knowledge and experience here and was interested to know which pedals/effects have sparked the most new ideas/new directions for people. The ones that spring to mind obviously for me would be: Line 6 DL4 (particularly after some pointers from Steve Lawson) Meris Enzo But really interested in other people's experiences... Cheers Tom

Chords are just combinations of melodies... took me ages to get the full significance of this

My copilot android is my favorite pedal on my board. The tremelo option is pretty useful on it too for ambienty stufg

Christmas bump! Ho Ho Ho

Now providing theory lessons as well!

[quote name='Bilbo' timestamp='1352133213' post='1859154'] Or you coudl write it conventionally but allow the conductor to 'prompt' tempos/loops etc so thjey overlap. Djangon Bates did something like this with a bicycle driven Orchestrion(I kid you not). [/quote] I would love to hear that... yeah i get that the point of writing this down is limited... no one would ever be asked/want to sight read something like this. However, I'm told its a precondition of my submission... joy. I've been having a look at proportional scores that seem to be interesting. Does anybody have any experience with these? They seem potentially quite useful, though a little rough

[quote name='Bilbo' timestamp='1351809414' post='1855824'] Woud it work like a fugue, starting the cycle an extra beat/bar later each time it loops? Without hearing it, it is difficult to comment. [/quote] Not quite in that the loops aren't synced deliberately . there's a link to a (very rough) demo of the type of stuff I'm coming up with in the post before youts. Thank you for your help

ah ok that's a cool idea thanks.... I like the idea of a timeline. In terms of notating the actual cells themselves do you have any recommendations as they are fairly free time and heavily effected? This is a demo recording of the stuff I'm coming up with... it is rough as hell but I think it indicates the problem http://soundcloud.com/clarkey-5/2-dark Cheers for your help

Hello again, I’m currently preparing a piece of loop based music for a dissertation submission next year, however, I have come across a problem that I felt might be interesting to share and see what everyone else thinks. Here is the issue: after attending a fantastic masterclass with Steve Lawson, I was put on to the idea that really interesting and exciting things occur when you have loops that are out of time with each other and so interact and evolve as the piece progresses. Indeed what makes a lot of looped stuff go stale is the fact that it is inherently repetitive and so keeping a piece from getting boring can be a challenge. Therefore, what I’ve wound up producing is essentially soundscape backdrops that provide an (approximately) free time bed over which to play melodic or rhythmic ideas. It’s still a work in progress but I’m getting closer to something that is sounding interesting. My real issue is that as part of my dissertation submission I have to provide a score of the music. This is causing me a serious headache. A tutor suggested that I make considerable use of the fermata sign, which I see would help but it is still a bit vague really and doesn’t really communicate what is actually being heard. I was wondering if anyone knows of a better solution or maybe even different system entirely that would be suitable? Cheers, Tom

Yeah it should do. That's why the lengths are the same so as they start at the same place

The rc30 has two channels, but what is synced is the length of each loop... I guess that means the bpms are the same but it also means that if your sections are different lengths you run into problems. If you've got the money, the boomerang loopers might be worth a look though not sure how long a memory they have. Or get a looperlative lol

I think your dynamics can take on extra importance when playing rock stuff. Digging in a bit more on chorus and more "up" sections. Certainly getting a dynamic contrast between verse and chorus sections is normally useful