urb

Wicked - looks great... you know when you are playing an ERB when you look down and see that the fingerboard has been bookmatched M

[quote name='slaphappygarry' post='394740' date='Jan 29 2009, 05:19 PM']If you try to do it all yourself at first you will find yourself worrying about all sorts of strange and nasty technical things when, in actual fact, the most important thing is playing well. G[/quote] This is excellent advice. And I hear you Garry and having had experience of both I know EXACTLY what you are saying about thinking about getting a great performance down rather than getting stressed about techincal stuff and then getting both a crap recording and performance as a result. My suggestions were more in the area of making a better quality demo rather than a really professional, polished recording as it sounded as this band might not quite be ready for the full monty studio session - I think I was also assuming that he had some experience of recording stuff - which among the people I play with is quite common (albeit not half what a true studio expert would have). I also think that it all depends on what end result you want - a half decent studio and an experienced engineer will get you much better overall results than a DIY approach - it all depends what you can afford and if you think you band is at the level it should be to deserve forking out pots of cash. But - for £200 like you say the experience of going into a studio is worth every penny and will be a great starting point for a band. Hope you can see what I was saying? The old adage of 'you get what you pay for' most certainly apply to studios - but then again a talented engineer is priceless... amateur or pro. Cheers Mike

[quote name='Musky' post='393672' date='Jan 28 2009, 01:58 PM']Yep, we had a single set of headphones with us. The way it's usually done with a band all recording in the same room is to use baffles around the amps and drums - you do get some spill like this but it's all pretty manageable. The only problem for you is that most rehearsal studios don't have baffles laying around. Though thinking about it, Zed One studios in Camden don't use their recording facility at weekends so if feasible they might allow the use of their baffles if you book a rehearsal there. In fact they use the recording studio for rehearsals then, so if you booked that room there'd be a drum booth - obviously you'd have to check with them first whether it would be ok, but I'm sure something could be arranged. Like the Funk says, you can get very good results with just stereo mikes (I've used PZM's with execellent results) but you'll need a decent sounding room to start with.[/quote] +1 on a good sounding room - but also you can always 'turn down' a bit - I know it's a radical idea but in terms of recording stuff being loud 'in the room' is completely different to it being loud on record - and if you can separate the vocalist from the rest of the band via a baffle then that will help. You can also DI the bass to get a good clean sound - but obviously that won't work if you aren't all on headphones. M

[quote name='simon1964' post='390103' date='Jan 23 2009, 11:48 PM']Well, hitting my bass with a hammer will produce a noise. In that sense its a "technique", but it isn't musical (IMO). Which, to answer your question, is why not. I feel a bit the same about these sort of techniques. I really struggle to to see any musical context where the technique demostrated here would add anything. What he's playing would sound just as good played straight fingerstyle. Just my opinion - I can see that its technically difficult, but it just seems a bit pointless to me![/quote] That's fine but used correctly - i.e. at the service of the music you are playing - any technique can be musical. I personally think different techniques give you a wider range of tonal possibilities - but also stuff like double thumbing quite literally enables you to do things that are physically a lot harder without using them - DT-ing is actually a way of 'picking' NOT 'slapping' the string - therefore it gives a more bouncy, less aggressive vibe than slapping - I know because I've tried it. And as regards it being technically difficult - I'd go as far as saying that doing regular two finger plucking perfectly is just as hard - and you only view other techniques as hard because you haven't practiced them as much. I agree that it should all serve the music but hey if you play funk and you want a way to step out or beyond just finger style then DT-ing gives you a lot more options. And lastly - please check out these vids of session bassist Bobby Vega on Bassplayer.tv - he's one of the funkiest cats on the planet and he makes double thumbing sound greasy and funky as hell - this is some of coolest DT-ing I've ever heard: [url="http://www.bassplayer.tv/?req=1&station=bvega"]http://www.bassplayer.tv/?req=1&station=bvega[/url] Cheers Mike

[quote name='jmstone' post='393216' date='Jan 27 2009, 09:55 PM']Anyone have any suggestions for cheap (and preferably reasonably OK) recording studios in London? (not that I'm sure our skills really merit being recorded for posterity!) So far we have been making do with recording the band through the build in mic on my mp3 player, but the myspace page is becoming a bit embarrassing! James[/quote] Hi James Sounds like you'd be better off saving your dosh and getting hold of/borrowing a Macbook with Garageband on it and getting hold of a mixer, and just record in a rehearsal room or someone's house, i.e. in a room that sounds good and you guys feel comfortable playing in. Check out the thread below that I posted re my jazz funky band, the results are quite impressive for a recording made in someone's front room. Pro studios are great but with a few bits of the right gear you can do a very good job yourselves, alternatively is there a local music technology college near you? If so the student engineers need bands to practice on, so if you can find one you should be able to get in a great studio and not pay a penny. Just a suggestion, hope it helps Mike

[quote name='silverfoxnik' post='393255' date='Jan 27 2009, 10:50 PM']As people have already said, it was a problem with being it a bit cramped for space and there were noise issues too.. But we kind of got around those issues at the SE Bash last September where we had 2 rooms and organised a few 'intervals' just to give everyon'e ears a rest.. We also did some workshops which seemed to work well too.[/quote] The SE bash was a model of organisation sir ...

[quote name='mrcrow' post='393026' date='Jan 27 2009, 06:25 PM']support the fatherland buy TI[/quote] Or go here and get strings for £10 a set (if you buy three sets of Rotosound together), I'm an Elites user, Players series, and I swear by this website for all my string needs: [url="http://www.stringbusters.com"]http://www.stringbusters.com[/url] Hope that helps Mike

[quote name='doctor_of_the_bass' post='393240' date='Jan 27 2009, 10:30 PM']Allo! I went last year and made some really good friends - superb event! I personally think that if it goes ahead, it would need a bigger venue - it got a bit tight in there (probably my fault with my mini-collection!). I'd love to help organise something...I was thinking about a Peterborough bash but being slightly to the East, it might not suit everyone espec. if its a national event. Cheers Nick[/quote] Yes it was good, but we need a few little rules about noise levels, or a substatially larger venue, the excesses noise slightly spoiled what was a generally very enjoyable day, but that was mainly due to the cramped layout. I'm sure it's an issue that can be resolved tho. M

[quote name='birdy' post='393227' date='Jan 27 2009, 10:10 PM']The point is that its probably time to start thinking about the next one and I didn't want to offer to sort things out when the last one worked pretty well but I don't know who did organise it (maybe it was Ped) so thought I would kick off the subject and see who replied - hopefully Ped or whoever will jump in and tell us its all in hand Steve[/quote] yes no worries, I thought you meant we needed a 'UK' bass day, which we have already, I didn't realise that the Nottingham Bash last year was actually a 'national' bass bash, sorry it's late and I'm easily confused due to work and child raising... hence I misunderstood what your original post was asking about M

[quote name='birdy' post='393093' date='Jan 27 2009, 07:27 PM']Anyone made any plans for this? I think the last one was on a sunday in March/April so its getting on for 12 months and I know it was in Northampton. I would be up for attending again and I am sure it takes 2-3 months to organise? Again, I would be willing to pay £10 or so towards costs/entrance if required. Steve[/quote] Er, sorry I slightly missed the point there, yes it's probably due M

[quote name='51m0n' post='388824' date='Jan 22 2009, 05:51 PM']Fantastic recording and playing! Just really shows what you can do when you work within the limitations of your equiptment. Also a lesson to anyone who is utterly slavish to the click. Really inspirational grooves, must get home and get the bass out now [/quote] Thanks again for these belated words of praise - I seriously love this band and I'm desperate to reform it and get back to playing together - I've just been listening to this fast version of Giant Steps that we also recorded in the guitarist's front room - just with a couple of mics - I was using my Thumb bass through a pretty basic Trace Elliot 30 Watt combo - it sounds good! Anyway - [b][url="http://www.icompositions.com/music/song.php?sid=74564"]click here for fast-ish Giant Steps samba[/url][/b] Cheers Mike

[quote name='7string' post='389575' date='Jan 23 2009, 02:13 PM'] I saw that MarkBass have a modular amp system coming out. You buy a chassis which contains the power amp (different wattages available) then choose which pre, eq and output section you want. Say you want a graphic eq instead of parametric, you just take the graphic out and put the other one in. There are 6 or so choices from each category, so loads of possible combinations. You can even switch modules when the amp is on. I did see a You Tube clip about this, but can't find it again!![/quote] Yes that is cool, but it was actually launched at the Musik Messe last year in Frankfurt, I reported on it for BGM in the subsiquent issue of BGM, Markbass obviously only just got round to launching it in the US... it's a very cool unit though M

Yes, pics now please...! M

Hey peeps Just got my new HD video camera finally working with iMovie 08, was a bit frustrating as the latest version is radically different to what I'm used to, but it works really well...[b] and if you roll over the icon in the bottom right hand corner of the Youtube screen and select 'HQ' then you can see the high res version, looks nice![/b] Anyway this is the old Django Reinhardt chord sequence done in a a vaguely skanky funky way with some solo chord stuff at the end, hope you like it; Cheers Mike

Well I'm impressed with those of you saying you do over 2 hours a day, like McGram Mark I used to practice an hour or two first thing when I lived in Brighton, but more recently I do about an hour a day, or two to three on the weekends. My main practice at the moment is developing my phrasing and articualtion but I do mix it up with transcription and some scale practice and reading. It's also the case that I've played for 24 years now and my playing has become a lot more solid. I played a gig last night and felt in total control of what I was doing, driving the groove and having a blast. But with all you mega-practicers out there making it clear that we have very good players here, it makes me want to hear some of your playing, please post some clips guys...! Cheers Mike

I'm with you on this one Bilbo - I see a lot people really GASing about gear but not talking about a desire to improve their playing. Personally I had the same bass - my old Warwick 1990 Thumb for 18 years... it was a slightly frustrating bass for a number of reasons (i.e. I couldn't achieve the tone I wanted that I can now with the Sei) - but it did play beautifully and have a kick ass sound of its own. It was like OG says a £1500-ish bass that was good enough to dpo pretty much anyting on - so I spent my time practicing and playing gigs instead of GASing. I did however change my amp a few times but over a long long time - I've ended up with Epifani and for me it's the best thing I've ever owned (I'm sure there are equally good alternatives but I'm not going to worryabout that!). I acquired the Epi gear all second hand and saved about £1K in the process.... My vaguely controversial point is that I don't think a lot of people know what they want to sound like - albeit they hear someone else play and think 'oh, I like the sound of that' - when basically you create all the major stylistic and timbral differences in your playing with your fingers. A good sounding bass and amp will help you achieve this more effectively but at the end of the day it's down to you to know what you want to sound like - and this only comes over time - a little more self discovery and a shed load of practice IMO are the best ways to go about doing this. My 0.02p anyway... Peace Mike

Damn that rocked... It was bloody ace M

[quote name='lonestar' post='387422' date='Jan 21 2009, 12:47 PM']Sadly I can't make it tomorrow night but really liking your tunes on myspace Urb. First Rai/rock thing I've ever heard. I've only ever really listened to Cheb Khaled as far as Rai artists go. but quite like that whole north African thing. Have a great gig mike[/quote] Thanks fella - we're going in the studio again soon as the stuff on Myspace is all very old and it sounds so much better now - here's a clip of us live at a festival in London a couple of years ago - it's actually the singer's brother who is now our new lead vocalist.

Hello peeps Bit of a late notice on this one - my fault entirely - but if you fancy checking out my Rai rock/funk band Ludomix - we are playing a set at the [b][url="http://www.cargo-london.com/event/voodoo-flamenco"]Voodoo Flamenco night at Cargo[/url] in London - on Jan 22.[/b] We're in the middle of a triple bill - not sure if the other acts are actual bands (i.e. could be MCs with guitars/decks) but it's a night of 'twisted Flamenco" so it's loads of different styles fused with Spanish beats and guitars - should be cool. Ludomix is a band I've been involved with for about 3 years now, it's really funky North African music - that does indeed take in Flamenco, but unlike most Rai bands we don't use keyboards, so the sound is a lot rawer, more in you face and funky - we have a new singer and a great rhythm section - so even if you've never listened to this sort of stuff before the groove will get you in the end! [b]Have a listen here - [url="http://www.myspace.com/ludomix"]http://www.myspace.com/ludomix[/url] - and if you come to the gig make sure you use the password 'Sahara' on the door and you'll get £3 off your ticket - early birds can get in for a £5 but if you turn up late it'll be £7[/b] Hope to see some of you there Mike

Hey Ben Nice work - definitely my bag - the Smith sits nicely in the mix -I'm a Jazzanova fan anyway and this comp is pretty cool - hope you win! Hope things are good with you and your lady - let me know if you are down in London anytime soon, be good to hook up. Cheers Mike

[quote name='bilbo230763' post='384713' date='Jan 19 2009, 09:47 AM']I think there is a lot of value in spending time practising what you are going to play (genius, eh?). A lot of jazzers turn up at gigs and do 'standards', some of which they know better than others, some of which they don't know at all and they are reading charts/dots. Whilst study will allow you to make huge progress in making the best of these 'opportunities', your ear will only really help you if you are at least superficially aware of the tunes structure and know the melody. Often, you will only know what mode to play after a little bit of trial and error. A couple of mashed choruses early on in a tune is not uncommon in small group jazz - you are nearer nailing it by the end but not always - I did a tune last night that I hadn't heard before and made a complete dog's breakfast out of it. Try 'jamming' a Wayne Shorter tune cold - ouch! The concept of a musician 'hearing' the changes and nailing it is shrouded in myth and it can feel sometimes as if those of us who can't nail 'Lush Life' by ear without hearing it first are, in some way, second rate. But the modes you use over specific chords are dependent on the logic of the composition. The logic of 'Giant Steps' is harder to 'hear' cold that that of, say, 'All Of Me' or 'Moanin' so, without practice and time spend with a piece, it is likely that you are going to make assumptions about the best choices and consequently flounder. The difference between a hard tune and an easy one is often little more than the amount of time you have spend with it. The choice of modes is no small part of that.[/quote] Definitely - I spent quite a bit of time in the past practicing common turn arounds and lots of standards, I'm still doing it and won't ever stop, and if i now read a chart cold I can pick out most of the things I know without too much trouble, but hey it's not easy and doesn't always go well... but then I've been asked plenty of times "oh, did you know that tune?" or "have you played that before?" and often I haven't - but seeing as a lot of jazz changes get repeated in hundreds of tunes you soon know where to go after learning a few. One of my fave 'hard' tunes is Very Early by Bill Evans, it's pretty much all major chords but they are stacked against each other in major thirds, so it's a really unusual sequence - it goes all over the shop and has no obvious key centre - oh, and it's in 3/4...! I play that one almost every other day, I love coming up with ways to get round the changes - and some days I do it better than others - you can see me make a stab at it [url="http://uk.youtube.com/watch?v=g_9SddRZDRI"]here[/url]. Anyway there's some great info in this thread - I guess we're all still learning which is cool. Mike

[quote name='steve' post='381870' date='Jan 15 2009, 11:06 PM']So the 1st, 3rd, 5th and 7th note of the scale or mode define the chord(s) you would play the it over, and the other notes add colour or mood to the line your playing? is that right?[/quote] In a nutshell yes - but the way I apply any of this stuff is based on the chord I'm playing over - and that in itself dictates my scale or mode choices - like Bilbo and Mark have clearly pointed out a mode is just another scale created by starting on a different note within that scale. Early on I was told by a jazz guitar playing freind of mine that it's good to listen to how different intervals in a scale sound over different chords - i.e. playing a D over a Cmajor chord (i.e. the 9th) and listening to how it creates a subtle tension against the chord. So when I improvise - be it a bass line or solo - I'm thinking of/listening for how different note sound against the chord I'm playing over sounds. I know my scales pretty well so I don't generally have to think about what exact mode I'm playing at any given time but my 'geographical' knowledge of the neck helps me play through a mode/scale and hit the 'target' note I'm aiming for. I did spend a lot of time (many moons ago ) learning my modes all over the neck and I still need to get more familiar with the melodic minor modes - that's what I tend to practice now - my other hard one is diminished, and whole tone - I can play them but as the symetrical scales they are easy to trip over. But I've found the practice is paying off and I'm a lot freer now when I play. I'm also into 'superimposing' scale substitutions over dominant 7th chords - i.e. melodic minor, diminished, whole tone, and Lydian as a way of stepping outside before going back into the tonic. I still have a lot to learn... M

Me too, it's a good un for getting your jazz sh*t together and even if you only manage a couple of tunes, you'll really feel the benefits... M

Wicked man, that top is mind blowingly lovely... congrats. I have a piezzo bridge on my Sei and while I was a little sceptical I would really use the setting aside from to get a simulated 'acoustic' sound, I have found it really useable for adding sizzling slap attack without losing the meat of the actual bass tone. In other words it sounds great with both pups on and the mids all present and correct, it really helps cut through and can be dialled in and out as and when you please to use it. So I think you're going to enjoy that side of things when she's all finished, it's definitely painful waiting, but it makes the pleasure of finally getting the bass all the sweeter, I'm sure it'll be worth it. Nice one Mike