Woodwind

work your way through Dope Smoker/Jerusalem. I can't read tab so can't verify this at a glance, but there's a good load of stuff here to work through - https://www.songsterr.com/a/wsa/sleep-dopesmoker-bass-tab-s79798t2

😀 it's only because I knew of the amplifier maker back then that I didn't add the Oh sound. I was invited by friends who were big fans of the band, but theybwere worried I wouldn't enjoy it at all. It was, without wanting to sound too dramatic, if not a life changing experience, a musical horizon changing experience. One of the same friends also introduced me to the orchestral work of Arvo Pärt in the same year. Turns out Sunn and Part hse a lot of the same triad chords 😀

He used to be the experimental music critic for the Sunday Times Culture magazine. I investigated quite a few albums reviewed by Stewart Lee that I read about from my Parents newspaper pile.

Was taken by friends to see Sunn at the underworld in camden in 2003. Absolutely loved the whole experience and got into doom from then on As an entry point it was pretty good! More likely to be listening to Om than Bong Ripper these days mind

Settling on choices for microphones - The engineer I'll be working with has recorded me a few times before for various session work. He introduced me to the world of ribbon mics. The results we'd had before were superb on the instrument - very solid low end with incredibly natural high end. We'll be using Coles 4038 mics. A Blumlein pair for the entirely acoustic section of the piece and then two mics in mono on my instrument for the electroacoustic section. I'll be in the studio in early March if everything goes to plan, so will post some more information around that time.

I settled on Pops for winter playing due to how soft the rosin was and switched to Nymans once the weather got hot and humid. I could make do with pops all year though and just use the smallest amount in Summer. It's a rosin that really allows one to pull a big sound if required. However Nymans lasts, Pops doesn't. Buying online with Pops is tricky as you don't know how old the rosin is until you open it. I seem to remember they printed the manufacture date somewhere on the packet? The difference between old and new pops is quite pronounced.

Excellent! looks great. Definitely prefer this new scratch plate.

Excellent, following this with interest.

This looks really interesting. Sadly my mac is too old to run it

I started this thread to help me collate my plans, thoughts, progress and results of a new recording project. This won't feature bass guitar, but will feature a lot of bass frequencies! I write and compose ambient/post classical music for contrabassoon and electronics (using EHX freeze and pitch fork pedals along with a looper and delay) which I reamplify through my snaredrum along with my drum machine samples. The recording techniques I'm opting for will be of interest to double bass players as the contrabassoon goes to Bb below a Low C extension - mic techniques for the two instruments are relatively similar. I was fortunate enough to win a grant from the Sound and Music Covid19 composers fund at the beginning of this year - https://soundandmusic.org/post/covid-19-composer-awards-round-2-winners-announced/ Which I'll be using to help pay for sessions at my favourite recording studio - Soup Studios, aboard lightship 95 at Trinity Bouy Wharf. I'll be tracking a piece I composed in 2019 which was intended to be the bulk of my live set for shows in 2020 (we all know what happened to those gigs). Here's a video from a live streamed performance last year (the timestamp won't embed for some reason, but the piece in question starts at 6minutes in). Quick bit about me - I started out as a bass guitarist, moving to double bass in my 20's, falling in love with the bassoon and contrabassoon through writing for them for ensembles I had, deciding to learn how to play the contrabassoon 9 years ago after injury stopped my bass playing. Initially I intended to use the instrument in similar post-rock band formats in which I played double bass, but went solo in 2015 and haven't looked back! I'll post more over the next month.

Lovely sound. he's done some stuff with a russian orthodox choir which I will investigate. However I don't quite get the physics of the notes he's capable of producing for his guiness world record. Quote from Wikipedia: "... In 2012, Storms reclaimed the record for the Lowest Note Produced by a Human. The new record is G−7, or 0.189 Hz, eight octaves below the lowest G on the piano, or just over seven octaves below the piano.[5] The most recent published record is in the 2020 Guinness Book of World Records. Storms' record-setting sounds are so low as to be infrasonic, incapable of being perceived by the human ear. The 2012 record requires more than five seconds for the vocal cords to oscillate once. (above)G−7 ..."

out of interest what is this run of shows? A stage show/musical? Will you be able to charge if you provide the equipment for the get in, but the shows don't go ahead due to coronavirus? If you can't get your rig back while the venue is closed with no performances it will need to be hired. I only bring this up as I have acquaintances who do pit work and couldn't get some of their instruments out from the theatres during the first lockdown.

I will be later this year when my EP comes out. I've just paid my tax so 200 quid is too much to drop at the moment. The music I've had played on the BBC over the last couple of years has been to sporadic too have justified the cost of joining previously. Despite my negative comments about the very heavy handed approach the organisation has about enforcement of listening licenses with small business, it does offer very good funding opportunities for musicians at various stages of their career.

Exactly. Once a member As a writer You can do pretty well from PRS payments if your music makes it to mainstream radio and TV etc etc, but this is dependent on the show submitting your details to the PRS properly (and this doesn't always happen). It annoys me that the license my old boss had to buy went to pay the big stars when we didn't listen to any of that music

My intention was to join the PRS, PPl and MCPS this year ahead of my next EP release. That will cost me £200 (I think/hope those fees include VAT). I'll be putting on 2 live streamed shows this year (that's the plan anyway) which will cost a LOT more to do than a conventional venue gig and even though I'll be performing my own music I now have to buy a license to do so. A license for each event will cost £27 (or £54 if I manage to sell enough tickets to gain more than £251). They clearly use the term revenue. As my events will make a loss, I will be charged for the privilege. What I can't work out.... Answering my own question. edit>>> Quote from the article: "...A PRS spokesperson clarified that only members of the PRS and international societies represented by the royalty collection agency or performers playing the works of PRS members would be required to obtain a license...." I don't have much sympathy for them. They used to issue many threatening letters to a company I used to work for about our use of radio for the staff. The letters were so threatening the boss did buy a PRS license for a few years, until we clocked the site we were on had piped music, fully accessible by the public and they were never hassled by the PRS, so we didn't renew.

I still have price tickets on CDs and LPs I bought as a teenager in the 90's. Some albums were £16 which apparently works out to about 30quid today!!! I don't use streaming websites, but even some of the more esoteric LP albums I buy today barely touch £20. However I have been just looking at Glastonbury ticket prices from the 90's by way of comparison. it wasn't even £90 by 1999! what was it in 2019? £250?? So yes I agree completely, I bought an album and it was a commitment, but going to the biggest festival in the country didn't seem like such a huge chunk (especially as most of my friends who did go just jumped or went under the fence, but that's a different thread). The price of a Glastonbury ticket back then was less than half the money spent on recorded music (assuming average 1 album a month). Today someone pays a tenner a month for Spotify, listening to anything and can stream stuff not on Spotify by way of Youtube etc. There is no financial commitment invested in an individual piece of music. Their Glastonbury ticket costs double the amount they "spend" on recorded music. Sorry, bit of a stream of consciousness

I will check those out now! Thanks for the heads-up. Have you watched any?

I can see this thread has evolved from it's original theme. I don't know what sort of gigs I'll get back to playing. I can't see the sort of shows I was doing in 2018 and 2019 happening again for a very long time and I don't know if I'd be bothered with them. I have two shows planned for 2021, both streamed, which I'm happy to admit is a complete U-turn as I said I'd not do a streamed show again. These are going to be reasonably ambitious, will cost far more to do than a "normal" gig and it's uncertain whether they'll be ticketed (I still don't know how feasible ticketed online shows are) as they will exist to promote my next EP. I can see there will be a rush to put on shows in some capacity as soon as its allowed, but I can only see this will be a short window of opportunity and restrictions will be put in place again. I don't want the emotional investment of preparing for gigs that can then be cancelled

What a fantastic looking bass Andy. I hope the sound and playability are equally good. Interested in hearing your thoughts

Those are absolutely insane prices for what these basses are (I own one).

I similarly had an epiphany moment with the bongos and it revolved around the 6 string version. Also the stealth version. The tone Tom gets in that video is absolutely wonderful!!

Superb! I'm not really a Fender fan, but something about your bass really appeals. It just looks spot on, and yells players instrument. But yes, I can see it won't do what a 5er does 😎

I love this!!!! So it's had a new bridge, an active preamp fitted along with new pickups (and obviously the J routed in)? Also do I see a brass nut? It looks brilliant. Only thing I want to do is fabricate a subtle surround for the P, attached via the pickup mounting screws just to soften the look of the route. May I ask why you play your other basses more?

Apologies If this is deemed inappropriate and please delete (or ask me to delete) if so. I'm looking to borrow a meatbox type pedal (Hulk, density Hulk, beefbag etc etc) for less than an hour in London. I'd collect one morning at a socially distanced meet up, test and return to you same day. Can provide some sort of deposit or collateral. Basically I'd like to see if the pedal works in my effects setup and achieves the sound I'm after ahead of a recording project. Thanks for any help, Thomas

I'll eventually be moving to multitracking my demos on my phone so this thread has been very useful. Thank you!