ambient

[quote name='timmo' timestamp='1427867076' post='2735125'] That is interesting. What was the thought behind it, if you don`t mind me asking? It sounds good, in that it works, It needs a video to really bring it to life, i think [/quote] Thanks for listening and commenting. I have done some work with video - [url="https://www.youtube.com/channel/UCXLYPNl48tn6G47pEXEQ5Jg/videos?spfreload=10"]https://www.youtube.com/channel/UCXLYPNl48tn6G47pEXEQ5Jg/videos?spfreload=10[/url]

[quote name='simonlittle' timestamp='1427881092' post='2735295'] Boo! Hiss! Surely they must realise the vast majority of music-type folks are Mac/iOS users?? It's madness I tell you! [/quote] Yep, my thoughts exactly. Pretty much all my fellow students and I think all my tutors use apple.

Windows only

[quote name='simonlittle' timestamp='1427841037' post='2735056'] Oh PLEASE don't let this be an April Fools joke!! [/quote] [url="http://www.sibeliusblog.com/news/staffpad-is-a-music-handwriting-app/?singlepage=1"]http://www.sibeliusblog.com/news/staffpad-is-a-music-handwriting-app/?singlepage=1[/url]

[quote name='DaveFry' timestamp='1427843475' post='2735082'] This is stirring up some ghosts for me . My first day-job when I left school was as a copyist at a music publisher . They submitted examples of my compositions to the A.C.C.S. ( Arrangers , Composers and Copyists Society )for me , which were approved and then I was granted Membership and provided with a little rubber stamp saying " David Fry Member No. xxxx A.C.C.S. " . Then I could write a copyright symbol at the end of any of my original works , sign it and stamp it and I was told that that would prove ownership in a court of law . I used to spend 8 hours a day at a desk writing out the individual parts from the score that the composer or arranger gave me .... .... with a PEN . Just now I remembered thinking back then, that one day in the future , when people will be wearing computers on their wrists and talking to others on the other side of the planet , then a machine will be doing this job . Synthesizers will be able to play anything . I also remember thinking that in the future anyone will be be able to be a Walter Carlos but there was only one Jacques Loussier , ie real-time improvisation craft must be the thing worth pursuing in the future . But now I think , ...... well the fact is they were both playing Bach . - Little flashback there , carry on on topic . [/quote]

[quote name='DaveFry' timestamp='1427840801' post='2735053'] I can't find anything else about it . Is it April 1st yet ? [/quote] Don't think it's actually available yet, it's just been unveiled today.

[quote name='simonlittle' timestamp='1427840171' post='2735040'] The interface looks awesome. As a total non-pianist if I want to score something out on a computer I have to input each note manually with the keyboard/mouse which takes forever. This is how I want to write notation!! [/quote] That's what I like about it, I'm having to score my solo bass tracks.

[quote name='simonlittle' timestamp='1427839558' post='2735023'] Wow. That's a game-changer right there. They have to release this for iOS too. Are you using it now? [/quote] I'm just trying to find if it's available yet. I want it, if it's cheap enough. I have 14 pieces of music to score over the next few weeks, each one is about 24 pages long. I've spent 6 hours today on one piece, this app would be an amazing help.

This looks amazing, I've spent about 6 hours so far today entering stuff into Sibelius. [url="https://www.facebook.com/video.php?v=10152857159429389&pnref=story"]https://www.facebook.com/video.php?v=10152857159429389&pnref=story[/url]

[quote name='shizznit' timestamp='1334308961' post='1614092'] I am a member on a Gospel bass player forum and there are a lot of members using MTD Z basses to get closer to a Ken Smith tone. I really like these basses too and you get a lot of bang for your buck. The Andrew Gouche signature model is a lovely bass to play. The only snag is that they are 35" scale, which is not what you are looking for, but I would recommend test driving one if you come by them. [/quote] I know someone plays gospel using an MTD, sounds amazing, especially for what it cost.

[quote name='Shockwave' timestamp='1334307649' post='1614055'] Hey guys. I have a wanted post for something like this. However I have no idea what to look for! I am after something that would sound good in a Gospel sort of situation. Ken Smith is obviously the way to go. However they are fairly expensive! What is a good alternative that I can get second hand which is easily sellable (If I don't like it) 5/6 string, 34" scale and with fairly wide string spacing (19MM would be fantastic). I believe the Peavey Cirrus and some Yamahas come quite close, but I don't think they are terribly sellable. A Ken Smith Burner would be nice, but I find them quite hard to come across! Cheers! Rob. [/quote] There's a Ken Smith Burner for sale in the sales section.

Nothing is 'too difficult', you just haven't learned it yet.

I think maybe a lot of the reason for the increase in prices is more the supply and demand factor. There's maybe not so many left that are actually working, and have been looked after, so that is pushing the price upwards ? Like I said earlier, and was said above too, you can do everything in Logic Pro or Protools that you can do on analog, and it's a lot easier. If I want to reverse something in Logic, it takes maybe 10 seconds, I just double click on that particular track, choose file, then choose reverse from the drop down functions menu. If I don't like the result then I can 'undo'. I use my Revox purely for the sound, and I've used it for loops sometimes. Though I've started using Logic Pro's tape delay set up like this for a a fairly realistic analog tape 'warmth' - [attachment=187987:Screen Shot 2015-03-31 at 14.25.35.png]

I'd have thought the EBS one would suit your needs. Isn't it the pedal version of what's on the EBS heads ? It suits Marcus Miller's twangy tone ok.

I'm not an expert, but I don't think people tend to use the little finger so much on double bass, not on its own anyway, I think they tend to use fingers 3 and 4 together, finger 3 on top of finger 4 to help it.

[quote name='funkgod' timestamp='1427649211' post='2732685'] some intresting tricks from.... [url="http://www.soundonsound.com/sos/1997_articles/may97/reel2reelroundup.html"]http://www.soundonso...eelroundup.html[/url] .. [b] [font=arial,helvetica][color=#483d8b]ANALOGUE TRICKS[/color][/font][/b] [font=arial,helvetica]There are some things you can do with an analogue recorder that you can't with a digital multitrack tape recorder. Here are a few:[/font] [font=arial,helvetica][b]• BACKWARDS RECORDING[/b] Turn the tape over so that it plays backwards. Record onto a spare track, remembering that the track numbers are now reversed. For example, something you recorded on track 3 of a 16-track recorder will now play back on track 14. Turn the tape over again and you have instant Maharishi-period Beatles.[/font] [font=arial,helvetica][b]• REVERSE REVERB[/b] You can't get real reverse reverb from an effects unit. Record the signal you'd like to apply reverse reverb to in the normal way. Turn the tape over so that it plays backwards. Remember that the signal will now appear on a different track. Apply reverb to the signal and record the reverb onto a spare track (remember again that the track numbers have been reversed, or you might erase something!). Turn the tape over and you have real reverse reverb.[/font] [font=arial,helvetica][b]• WOBBULATION[/b] I don't think this technique has an official name so I've made one up! Wow and flutter might usually be considered a bad thing, but in the past recorders have been made to produce wow for effect. For example, if you want to build up a choir of backing vocals by recording multiple takes of the same singer, you'll find that it ends up sounding more like multiple takes of the same singer than a choir! There's logic in that somewhere. A little bit of wow on each track will thicken up the sound very effectively. It works better with some recorders than others, but if you can add a weight to one of the rotating parts to unbalance it, a certain amount of wow will be produced. I'm told that in the old days chewing gum was used for this purpose. I think there might be better modern alternatives! Sticking a piece of gaffa tape to the pinch roller works too, but be careful that it doesn't come unstuck and damage your tape, and remember to clean the pinch roller afterwards. Proceed with caution![/font] [font=arial,helvetica][b]• DOUBLE SPEED/HALF SPEED[/b] Some multitrack recorders have two speeds. If yours has, you can play back your backing tracks at half speed and record a new track, perhaps a vocal. When the tape is played back at normal speed, the pitch of the vocal will be raised an octave. You can use the varispeed control, which may well have a wider range than a digital recorder would, to achieve a similar effect but with less of a pitch shift.[/font] [/quote] You may not be able to do a lot of these with a digital multitrack, I don't know never having used one. I use analog purely for the sound. You can however do all these things a lot quicker and easier using Logic Pro. I like to record stuff, strange everyday sounds for example onto my iPhone, and then re-record them onto my Revox, then mess about with them, slow them down etc, or touch the spools as they're being recorded, to just slow it down slightly in a particular place. An example is here, the 'noise' at the start is a tube train on the Jubilee line - [size=5][url="https://soundcloud.com/an-ending-ascend/31012015a"]https://soundcloud.c...scend/31012015a[/url][/size]

I've been using a Revox A77 for a couple of months now. Pretty much anything on my Soundcloud page from February onwards has some element of analog recording on it. You can tell from the titles when the pieces were recorded. [size=5][url="https://soundcloud.com/an-ending-ascend"]https://soundcloud.c...n-ending-ascend[/url][/size] [size=5] [/size]

I remember the huge gap around my old USA built Fender Marcus Miller five string. This looks amazing value for money.

[quote name='Mr Arkadin' timestamp='1427605751' post='2732202'] Yup. Wish I'd done something like that in my life. I have a ton of Glass (possibly literally - I do have a hundred-odd CDs just of his stuff I think) and lots of Bryars. Hadn't heard of this album you mentioned though, which is odd as I like David Lang too who is on there, plus it's done by some Icebreaker guys who are a great modern ensemble (along with Bang On A Can from the USA, featuring Lang). Not easily come by even on Amazon, but a quick Google revealed a site where you can buy direct from them, which is what I've just done. Cheers [/quote] Have you listened to anything by Nico Muhly, he's very Glass like ? Drones is probably my favourite album his, but Mother tongues is pretty good. He was a programmer and I think keyboardist for Glass, hence the influence.

I remember once an originals band that I played for was offered a 'chance' to have a track featured on a compilation CD of promising young bands, that would be sent around to radio stations and record companies. We all thought wow, brilliant ! As you do when you're young and desperate for success. Turns out we were expected to pay to record our track, we would also pay towards the production of the CD. So we ask the guy who's very kindly given us this 'chance', well what happens to any money that's made from the sale of it. "Oh I keep that to cover my overheads", says he, "just think of the publicity". This kind of thing is the latest incarnation of that.

[quote name='blue' timestamp='1427590237' post='2732162'] Question any offer to play anywhere that's not accompanied by an offer of money. Is that too harsh? Blue [/quote] That about sums up my personal feelings on it. If they're not paying the bands, then what happens to the money made ? If they keep it, then it's like others are saying, just a con.

What would be the point in them seeing a band play in a pub, possibly not to much of an audience, and what audience there would be wouldn't know you or your music ? Surely part of the 'seeing a band play' thing, is seeing what audience they're getting, and watching the performance. I think a lot of the playing in London thing, is the old belief that the streets are paved in gold, whereas they're not. The music scene there is, probably like most large cities around the world, just full of people making money on the back of young bands belief that they can be the next big thing.

These look great, especially for the money. [url="http://www.ebay.co.uk/itm/Tanatos-7-string-bass-Claymore-CL-150BM-/191543171482?pt=LH_DefaultDomain_0&hash=item2c98dcd99a"]http://www.ebay.co.uk/itm/Tanatos-7-string-bass-Claymore-CL-150BM-/191543171482?pt=LH_DefaultDomain_0&hash=item2c98dcd99a[/url] [url="http://www.ebay.co.uk/itm/Tanatos-7-string-bass-Claymore-CL-150QM-The-Final-Resultsale-/191543176848?pt=LH_DefaultDomain_0&hash=item2c98dcee90"]http://www.ebay.co.uk/itm/Tanatos-7-string-bass-Claymore-CL-150QM-The-Final-Resultsale-/191543176848?pt=LH_DefaultDomain_0&hash=item2c98dcee90[/url]

Never been a particular fan of blur, or similar bands. Off topic slightly, Alex does do a good show on Classic FM - [url="http://www.classicfm.com/radio/shows/alex-jamess-date-night/"]http://www.classicfm.com/radio/shows/alex-jamess-date-night/[/url]

To switch between 2 looper pedals. Any good recommendations please ?