Woodwind

I agree completely. However I think it is subtle - the wind instrument in the Planet Jam thing seemed to have a different tuning system which the player was trying hard to bring into pitch with the fixed pitch instruments. I have a Cd of baroque, renaissance and classical organ music recorded on historical organs tuned to their correct historical temperaments (meantone, Werckmeister etc etc) Some of the sounds are SO alien or just completely "wrong" sounding, even though it's still 12 tone. This video is quite a fun exploration of breaking the scale into higher numbers of microtones:

A friend of mine irreparably damaged his hearing seeing my bloody valentine in the 90's. He then went to see them again a couple of years back(I think it was that recent) and despite ear plugs, worsened his tinnitus even more ☹️

Good Loud - Sunn0))) 2004 Bad Loud - Mogwai (as I mentioned in the gigs you left early thread). 2003 The Sunn gig was so loud it actually seemed quieter when I removed an ear plug as a test and my hearing was completely overloaded. The bass frequencies were a physical entity. Absolutely brilliant. There was a point to the volume Mogwai on the other hand were pointlessly loud. It worked against the delicate moments of their music. Everything I've seen at the Kentish Town Forum has been loud and sounded crap.

Mogwai, Norwich Waterfront circa 2003. They were touring Happy Songs For Happy People. Support came from the superb Kling Klang who stole the show for my friends and I. Mogwai were proficient and obviously into it, but my God it was so, so loud. My ear plugs weren't enough and after spending the first 4 songs moving further away from the stage I decided to leave. Outside were many others who had done likewise.

Wow Brilliant, thank you so much for the heads up on these!!! I'll investigate now. I'm a bit new to all this so I really appreciate those pointers! Cheers Thomas

I have just discovered they aren't available now. Looking at some of those low current ones, but I'm not convinced and I worry the old adage "buy cheap buy twice" will very much apply to these forty quid jobbies, so I should maybe just go straight for a one spot cs6 etc etc

Bit of a thread resurrection, sorry. Anyone who has been using a vitoos iso8 got any long term feedback? Cheers Thomas

That's a great solution for the bag Itu! i'll be making mine, but the design will evolve so once I'm set I may commission something much better from a specialist. As for the watch, I'm in a more modest price bracket 😀

Damn, I can totally empathise with the annoyance of losing a workspace. My pedal board will be quite crude as I've already decided to change things as I got working. I need something for a recording session in two weeks, so I'll get this done and refine it thereafter.

Any progress @stewblack ? I Just found this thread as I'm making my own pedal board. The requirements being - as light and as strong as possible, while being very low profile and easy to travel with. Today I'm carving out the Aluminium sheet to mount the pedals on which will then be sewn into a custom bag. Eventually all the holes will be drilled to half an inch, but I want to use the better pillar drill in my other workshop which is currently closed. I'm more used to working with silver, gold and titanium - making Jewellery and woodwind instrument repairs, but I can see more of this type of thing happening.

I was lucky enough to catch Khanate at the Underworld around 2004/2005. Absolutely Phenomenal gig, however I passed up the chances too see them when they toured again as, as you say, it can be punishing.

Yup, every time I pass through Soho, I can't believe how corporate and "developed" it has become. Souless.

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.