DanOwens

Happy Jack > perhaps not.

Hey guys, I did a music degree (graduated 06) and played in a few Jazz groups. Did some Cuban/Brazillian stuff and the usual standards. Of late all my bands are annoying me a tad and since I'm now a proper music teacher (start at my school Sept 6) I thought I'd resurrect one of my Jazz bands. So far I have a Pianist/Rhodes, a very good drummer and I'm looking for a guitarist, sax/trumpet and a singer. My questions are thus: [list=1] [*]Do we need an agent/agency? [*]How do I find a good agent/agency? [*]What are the essentials for a website? [*]What type of events book Jazz bands? [*]Is it OK to do Jazz arrangements of Pop tunes (Kings of Leon, Killers, Gaga)? [*]What are the top tips for doing functions/events? [/list] Thanks!

[quote name='LeftyBiskit' post='1318829' date='Jul 27 2011, 11:08 PM']Evening All I have A question for all you effect bods. recently I have been playing around with my effects and have considered acquiring some kind of volume/expression pedal where I can phase one effect in and one out while maintaining volume,then reversing the pedal and bringing back the original effect.Also at a midpoint where both effects are active. the effects in question are a BBM and an octave pedal. thank;s in advance for your answers. T.[/quote] Other than build quality, the most important thing to keep in mind is the taper of the pedal. 'Logarithmic' tapers are more suited to volume whereas 'Linear' tapers are more suited to filters and non-volume-based changes.

[quote name='Toasted' post='1319348' date='Jul 28 2011, 02:31 PM'][url="http://tinyurl.com/423u5m3"]http://tinyurl.com/423u5m3[/url][/quote] Is it in production? I can't find much on it.

Yeah I have an Adrenalinn and for TB303-type step filtering it's amazing. Also the LFO-controlled VCA stuff is unbelievable for the Taio Cruz/Prodigy-type cut up guitar. As has been mentioned, all the band needs to be tempo-locked via MIDI but with thebrokendoor we all are. Dan

Line 6 M13 is a nice compromise between 'tweakability' and endless hidden menus. I, like you, hate having to tweak effects by accessing layers of sublevels. As such, a pedalboard of singles satisfied my desire to have lots of cool sound that were easy to change. Having heard some cool sounds on the M13 I thought I'd buy and try one out and now I take the M13 out more often. It is still slightly more complicated than a singles setup, but the sounds and versatility make up for it. Dan PS. I should add that I originally suggested the M9 but realised that the M9 only has one set of controls where the M13 has 4. This is a massive difference in looks and approach but in functionality I imagine only a small change.

[quote name='pantherairsoft' post='1280993' date='Jun 24 2011, 01:57 PM']Mark, That's the best idea yet... One I'll consider. And if 2 Tourman boards won't fit stage wise that's a solution to move one up... Interesting...[/quote] Luke who plays guitar in 'From the Kites of San Quentin' has a diago board on a keyboard stand:

[quote name='fatgoogle' post='1277092' date='Jun 21 2011, 02:30 PM']A line 6 m9 is defiantly on my list at the moment. I might not need all the options atm but i reckon i will. With a midi clock do you just take a line from my pedal board from somewhere or other. Lets say an m9 and then into the synth players setup?[/quote] Basically, you set a device as a master then send a clock feed to every other device. You can either daisy chain the slaves or get a MIDI splitter. The most important point to think about is whether a device is happier as a master or a slave; for instance the Boss Loopers that have MIDI implementation don't work well as slaves. Thew Line 6 stuff apparently drifts with a clock whereas the Adrenalinn is happier as both slave and master. MIDI is the most annoying fun you can have! Dan

[quote name='pantherairsoft' post='1278918' date='Jun 22 2011, 07:23 PM']That's about th best bet I think. Think I may give up on that idea. I've just upgraded to a Tourman AND a Showman so I can have all my exp pedals and external control units on a board for set up/breakdown ease. I'm ashamed to admit that I eithe need 2 Tourman or to cut some stuff out... Why are MoogerFoogers so bloody big!!!!![/quote] Just need some custom cabling with 20-pin connectors on each end. And a robot to set it up. And bionic arms to carry everything. Hmm. Dan

I've said it before, but some venues will require the banner to be flame retardant. I've seen sarcastic stage managers take a lighter to a bunch to check. Dan

[quote name='pantherairsoft' post='1275431' date='Jun 19 2011, 11:58 PM']Just the Moog & the Iron Ether one off the top of my head. Oh, and I think you can do Low Pass with the M9/M13 and expression - Queue Dan Owens to clarify…?[/quote] Yeah, there is a filter section that is controllable via an expression pedal. Just be aware of the pedal's taper (my main concern with the M9/13's expression duties). TBH though, it isn't a great filter. The Resonance Q is a bit wide which means if you boost it to get a very pronounced sweep you can get into some very unmusical resonance peaks. The band-pass is fun to play with and I do use the LPF but it sucks compared to the MF101. Dan

[quote name='xgsjx' post='1275606' date='Jun 20 2011, 10:11 AM']It's not just keys that step on your toes, guitarists can be equally as guilty (in my instance, one has an octaver on octave down! & the other uses a Godin with a synth set up so 1/2 the time I could play up the dusty end).[/quote] I've worked a lot with guitarists but improvising electronic music is as much a mentality as it is technical skill or theoretical knowledge. Guitarists think in terms of chord structures, but you can't really improvise with chord structures without some degree of planning. This is where most guitarists I've worked with fall down. To be fair, this is where most keyboard players and drummers fall down too. Dan

I like the last one for sure. I'll have a think. Thanks as always Shep.

Shep > I'm always lurking Thumbo > That is exactly the reason I write this stuff. Thanks so much for that comment! I feel vindicated! Escholl > Umph (Mammoth Audio) custom built me a box with 5 mutable send/returns but there are an unbelievable amount of things to take into consideration using that many buffers/volume controls/sends/returns. In the end it costed him a lot more than I paid and we just gave up. I'd be interested to see your solution. What's next? I'm thinking of a bit of easy theory (I am a music teacher after all). Any requests?

In fact, here's the text: [indent]This is, once again, the 10th time I have tried to write this article. My biggest problem with this whole blogging malarkey is that it is meant to be about the philosophy of sound design through bass guitar technology and the application of that philosophy. The thing is, that can become very long and very boring and regularly does; as such I go through the process of writing and deleting over and over again, get bored of it and sack it off. This time, though, I’m going to finish!! [b]Introduction[/b] This article is about the use of multiple signal paths. So-called ‘Bi-Amping’ (the use of two amplifiers at the same time) is an example of this, but I want to focus on a more effects-based approach. The idea is that you take a single sound source (ie: your guitar) and rather than having one signal (guitar > pedal > amp), you split the signal somewhere in the chain and eventually sum them together towards the end. A distortion pedal with a blend control is effectively utilizing multiple signal paths as within the pedal the signal gets split, one signal gets effected whilst the other doesn’t, then the signals are summed. The philosophy of this distortion pedal is the same as a more complicated setup in that the user wants to create a sound that is more sonically rich than one can achieve with a single signal path. As I’ve said in a previous blog, electronic music layers numerous sounds to create a rich, undulating (I like that word) sonic texture that is continually moving and changing. I must reiterate that trying to carbon-copy sounds on records is doing yourself an injustice. If we are going to engage in this foray into acoustically-created electronic music, then we have the opportunity as pioneers to shape the way our music is formed in a new and unique way. That said, using familiar sounds as our starting point is useful, and utilizing some simple philosophies and technologies to achieve this is a rewarding experience. Splitting and Summing Splitting and summing forms the core philosophy of the implementation of multiple signal paths and is also the root of all problems in this field. I spent a long time experimenting with a variety of setups and I’ll briefly describe a few: I started with the notion of a rich sub with a chorused distorted lead on top. I didn’t want to spend anything so I used a Boss TU2 and a Line 6 DL4 that I already had. The TU2 has both muted and bypassed outputs which can be used at the same time. This means the pedal splits your signal: Yey! As for summing, the Line 6 DL4 has both looper and delay functionalities. The pedal is designed to be used with both guitars and keyboards and as such has both stereo inputs and outputs. The thing is, the looper doesn’t have stereo functionality so when in looper mode, the pedal sums the stereo inputs to the mono (Left) output. That’s right: Summing! So thinking about the TU2 and DL4 as functional tools rather than tuning or delay pedals opens up opportunities and creative possibilities that we didn’t know about and this is the attitude and philosophy that we must pursue to be the pioneers we perceive ourselves to be. Using the TU2 as a signal splitter and using two amps as signal destinations is another implementation of the multiple signal path concept that I use on a fairly regular basis with a variety of electronic/art-rock trios, using one signal path with my bass board (OC2 > Mammoth > CEB3 > LPF > VT2 > DL4) and sending the second signal path to a Line 6 M13, pitching the signal up by an octave, EQing out the bass and adding a variety of modulation and synth effects then sending it to a guitar amp. This makes my bass sound HUGE, especially when using the OC2 with the bass signal as I effectively multiply my sound over 4 octaves! All these uses can sound a bit complicated, and if you want to simplify things the Boss LS2 is your friend. A second-hand Boss LS2 is an amazing tool to have in your arsenal and can be found for around £40. The far right rotary controller on the LS2 changes the function of the pedal and for the purposes of multiple signal paths, we will use the setting ‘A+B Mix’. This setting splits and sums your signal, allowing you to use one source (guitar) and one destination (amp) with two separate and blendable signal paths. I cannot recommend this pedal enough. [b]Problems[/b] If the LS2 is your friend, phasing is your worst enemy. If you’ve ever tuned your bass with harmonics, you can use the pulsing, phasing sound to check whether you’re in tune. This is one of the few times when phasing is not a massive problem. I’ll apologise to anyone who understands the real complexity of phasing but I’ll briefly describe what it is and why it is a problem. Imagine a speaker moving back and forwards to create sound. Phasing is caused when two identical or similar signals move in opposite directions and effectively cancel each other out. This means your sound will appear weak and hollow; the complete antithesis of the reason why we’ve chosen this. Phasing can be a problem if you’re using multiple signal paths and using delay or if the multiple paths sound too similar (hence my TU2 / M13 implementation using very different sounds). If you’re sounds are too similar, then you’re also going to compromise the effectiveness of the rich and changing sounds you’re trying to create. [b]Implementation[/b] There are lots of different ways to use this concept of multiple signal paths: Using the paths across different pitch ranges can form a rich harmonic texture, filling out the sound and allowing other band members space for them to add their own sounds. Using waveform generators can avoid some phasing issues as they replace the signal with a new sound. They can also recreate a very synth-like sound. I’ve used a Freqbox and SYB5 in the past but I’m currently using the M13 and Mammoth to this end. Using modulation in one of the signal paths can create a modulating and shifting texture that can retain interest over long, held notes. Tremolos, flangers, phasers and choruses work really well. I use an Adrenalinn 2. By having sounds that contrast in their attack and decay and don’t overlap, you can create the illusion of different sounds weaving in and out of each other. The EHX Bass Microsynth has an ‘Attack’ slider, which can cause the notes to swell in over time. By combining this with a LFO on the other signal path, you can create two independent sounds that’ll intertwine and create a powerful sound. [b]Conclusion[/b] When I started using multiple signal paths, I had a variety of problems. The thing is, I didn’t care because I could create rich and interesting sounds and by experimenting I’ve created a way to make sounds that are HUGE. I currently use two LS2s and two amps to create this sound but I’ve had custom pedals built and have used a combination of the setups above. The thing is, when you start on this path it can change your approach to playing and thinking about sounds. Experiment and enjoy it! [/indent]

Yes, Shep, it has taken long enough but here is my blog post about multiple signal paths. All you DnB/Dubstep players take note! [url="http://mrdfowens.tumblr.com/post/6625226238/multiple-signal-paths-parallel-effects"]HERE[/url] Any comments? I can add things if I've missed stuff out or write it into another post. Dan

I think Digitech stuff can be a bit hit-and-miss, but the concept is amazing!

Harmonically: tritones, chromatic shifts and chords 1, 3, 4 and 6 in minor (and perhaps major but you'd really need a strong drone). Get a mix from beatport, listen to it and copy all the bass parts (notes not sounds) you'll realise that the same chord progressions repeat. Learn these chord progressions then all you need is the right LFO and you'll have nailed DnB and Dubstep. Dan

It comes down to the ancient mysticism of Equal Temperament. Lets take the note of A# or Bb. On a piano they are the same note but in True Temperament they are two separate notes separated by a microtone. When playing fretless or upright we can make the adjustments to correctly tune the notes (my old bass teacher Steve Berry was a god at this stuff). I guess if you're ear is listening closely, you'll notice the tuning dependant on the key signature that you're in. Dan

[quote name='solo4652' post='1261255' date='Jun 8 2011, 02:45 PM']I can't depend on PA support for the larger gigs. So far, I've never played through a desk - I've always been self-contained and I quite like that.[/quote] In that case I guess you've actually got it pretty good. Short of replacing your Rolands with two Neo cabs and a lightweight head, I think I'd do it similarly. I have the Hartke for home, an old Marshall combo for rehearsal and a Markbass / TechSoundsystems for Live. Pretty similar in approach to you.

Do you have no PA support for those larger gigs? This is, to me, the critical question. I use a Hartke A35 for home and acoustic practices. Very small but decent low end and I'd recommend to all as a practice amp. I always gig with PA support so extension cabs and a large amp are completely unnecessary since the amp is effectively a preamp for the PA and the cab is just for on-stage monitoring. Dan PS. I have a rather successful sound engineer friend who always complained about bassists bringing amps that were too loud (incidentally he suggested anything over 150w was too loud)

The Moog is a LowPass only and doesn't do BandPass. I'm all about the BandPass for Dubstep.

The EHX Bass Microsynth has an 'Attack Delay' slider which is effectively an 'Attack' control from a VCA ADSR control, but I'd go for the Behringer or kit.

[quote name='shippo' post='1252614' date='Jun 1 2011, 12:58 PM']Improved slap sound, fuzz, synth, filter, compression and some different amp sounds[/quote] I'd probably say a Line 6 Pod HD if you're after Amp Emulation. If it's just effects then there are loads to choose from but the Amp Sim stuff is where it starts to get a bit more complicated. My advice though would be a Line 6 M9 and use EQ and Drive to simulate different amps though. Dan

I bought an LS2 off Andy. It took 3 weeks for him to send the item and after 1 week he stopped returning my PMs and emails. I thought I had been scammed, but actually he was just lax in his delivery. Dan