Leonard Smalls

One of my favourite tunes with Jaco: [MEDIA]http://www.youtube.com/watch?v=-utN0_h9WlU[/MEDIA] A proper builder...

Her performance inspired me to look at her latest album; unfortunately it's not quite as good as she was live! I also liked the Macabees 1st song...

I listen to 6Music a lot...

Finally done one... Tis a protest song about sailors no longer being able to get 3 sheets to the wind. https://soundcloud.com/dredd-and-the-badass-weed/first-day-of-september

[quote name='BassBod' timestamp='1442407673' post='2866731'] I've still got some 1961 LS3/1 speakers here at BassBod towers....these are the early outside broadcast big grey boxes, with 15" paper cone speakers in. I understand they were used all the way through to the 1980's. The bass response is very generous and seems to come from nowhere (although they don't do loud)....nothing like the Spendors/Rogers and other bookshelf sized BBC designs I've heard. If you were listening to these as reference speakers I could see how the bass would easily be left low in the overall mix. Add some low end bleed form a loud live band and it could be a problem. [/quote] There were still some LS3/1s in East Tower Projection suite in the late 80s... I think "warm" best describes their sound - though the LS5/8 was not exactly clinical either! And despite the size of the bass units neither did much below 50Hz, just a nice big bloom at 50-70Hz.

[quote name='obbm' timestamp='1442184563' post='2865039'] Video recording started in the late 1950s and by the 1970s it was still a bit of a black art. Because it was the most difficult priority was always given to recording the pictures. The audio tracks were a bit of an afterthought and the concept of synchronising a multi-track audio recorder wasn't even considered. The workhorse video recorders of the broadcast industry were the Quadraplex Ampex VR2000 and the RCA TR70 which both 2-inch tape. The video was recorded transversely across the tape using a 4-headed scanner. Audio tracks were longitudinal and somewhat rudimentary by modern standards. The BBC used mainly VR2000s. Here is the brochure. Have a look at the audio specs. [url="http://www.digitrakcom.com/literature/VR2000BbrochureWEB.pdf"]http://www.digitrakc...brochureWEB.pdf[/url] . Initially there was no electronic editing so the only way to edit was by developing the tape to see where the control track pulses were and then physically cutting and splicing the tape to make a simple cut. Anything recorded prior to the mid/late 1970s was on one of these machines. By the mid 1970s the Quad machines started to be replaced by the C-Format 1-inch VTRs and then in the 1980s by the Analogue Betacam SP Cassette Recorders. Finally in the 1990s recording started to become digital and proper full-bandwidth audio was possible. [/quote] I trained as a BBC sound recordist in the late '80s, and as part of the training I had to be able to run a transmission suite or VT cubicle, which meant being able to line up a 1" or 2" machine for broadcast. Beta SP was only used for editing or location video recording and D3 digital was just appearing. And any studio recording (such as OGWT)would have been recorded to a VT cubicle onto 1" (or 2" until the mid 70s} until D3 became the broadcast standard. Until the 90s bands played at relatively high volume, which means that in the studio bass levels would be high and there would have been lots of bleed-through into the sound control room. Engineers then would have been monitoring on remarkably Heath-Robinson speakers with KEF drivers, which wouldn't have had any response below 50Hz. So a combination of this, no requirement to record below 50Hz because it would never be transmitted, even as a simul-cast, and bass bleed-through from the studios making making bass appear much louder than it actually was on the recording meant that low frequency levels were low... Even later when the BBC monitoring speaker of choice was the Rogers LS5/8 low frequency reproduction was suspect. When I was working on drama, especially period ones, I'd take a copy of the mix home to ensure that there was no low-level traffic rumble which wouldn't have appeared on the main studio monitors. As for 2" recorders and the difficulty of running them, I knew a chap in transmissions who had his own VR2000 at home. I remember him once ringing his 70 year old mother (unsurprisingly he still lived with his parents) and asking her to record EastEnders on the 2"! (this was 1991!)

I remember 2 violent gigs in Chester when I were a lad... One was at the Gateway Theatre where a number of local punk bands were playing, and the other was at the Arts Centre with Echo and the Bunnymen and the Teardrop Explodes. Both times a number of mods and skins came in and attacked the punks - that was the end of gigs at both those venues! But I also remember going to see The Exploited in Leeds in 1982ish; I was jumping around with arms flailing (as you do) and managed to punch a huge skinhead full in the face. I was a bit worried and sidled off, but he came after me, shook my hand and said "great dancin' mate!"

I've laid down some funk...

If our band were doing "Uptown Funk" the bass would have 3 envelope follower pedals with a touch of tube distortion, with 2 lots of Mother's Finest style rockin' guitar, plus vocals through a vocoder...

Continuing on the Tad/Gaye Bykers theme, World Domination Enterprises were the dog's live - Asbestos Lead Asbestos was a sorely overlooked album, and there weren't many who made a racket quite like them! Lie a punk Sonny Sharrock... [VIDEO]http://www.youtube.com/watch?v=isi4FYDFfps[/VIDEO]

[quote name='Billy Apple' timestamp='1441128061' post='2856297'] I saw Head Of David at Edwards No.8 Bar in Brum. Now there's an underrated band. [/quote] Now we're talking! And Gaye Bykers; we supported them a number of times as well - far more my shot of JackyD than Carter...

[quote name='colgraff' timestamp='1441030394' post='2855471'] My submission: Carter USMs 101 Damnations. [/quote] I wouldn't say 101 Damnations was under-rated. It had loads of NME/Melody Maker publicity; went to no.29 in UK album charts, plus a no23 UK singles hit with Sheriff Fatman. Our band supported them in venues as diverse as the Marquee, Edwards No. 8 in Birmingham and Gloucester Town Hall! In fact Jimbob broke his arm at one of our more scary parties... By contrast, the Praxis album "Transmutation Transmutandis" featuring Buckethead, Bootsy, Bill Laswell, Bernie Worrell and Brain was critically very well received (being a pretty darned cracking album!) and sold very few copies indeed - in fact it's no longer made...

Excellently done Mr Lurks - you had my vote!

Aye... It'll probably end with with no more free soundcloud for users and listeners. And a number of far richer lawyers!

I saw him at the Bass Clef many years ago - not long after "Bass" and "Kollektiv" came out. He didn't come on until 1am-ish due to "technical difficulties", but he and his band were well worth the wait...

I used the space bar, and got 905.

We're lucky to get 1.4Mb/s!

Elephant. Or Blood.

[quote name='Mornats' timestamp='1440167270' post='2848802'] I made the switch to Windows 10 last night. It only took 25 mins to upgrade - I was quite impressed. [/quote] 25 minutes? Says something about the speed of rural broadband that it took me 6 hours to download the 300'n'odd Mb!

[quote name='jazzyvee' timestamp='1440084477' post='2848168'] You will find lots of tracks with multi-tracked bass lines on recordings by Stanley Clarke, Marcus Miller, Victor Wooten [/quote] Like this one? [MEDIA]http://youtu.be/rdRG-hD5ZKo[/MEDIA]

I got into punk klezmer through Electric Massada... That's a whole new ballgame! Check Hasidic New Wae, Aaron Alexader and anything with Fima Ephron on bass. Especially early Screaming Headless Torsos (Amandla, Choice Cuts), then you've also got the joy of David Fiucynski's guitar and the awesome percussion of Daniel Sadownick. They're not exactly klezmer - they do everything from screaming metal to tuneful jazz via dub and funk with stops at just about everything inbetween.

[quote name='Bassjon' timestamp='1439897964' post='2846537'] I have just started getting into jazz and trying to find a way to mix it with punk rock! Its hard to get right but I love experimenting with it. I will post some stuff up here once Ive recorded it. But in the meantime can anyone recommend any punk jazz (if it exists??!) I've started buying jazz albums and like The Bad Plus, Steve Swallow, Miles' Kind Of Blue and Ahmad Jamal's live album But Not For Me. Where should I go next, please? : ) [/quote] If you want a bit out of order and generally more crazed than jazz usually is then Bilbo's recommendations are a good start... However, all the artists he lists do a wide variety of stuff. Here's an example of John Zorn's non-Japanese-jazzcore side, and very groovy it is too: [MEDIA]http://youtu.be/2ll9U6DNQFw?list=PLAFEA3BEF26654302[/MEDIA] However, he also produces a lot of stuff like this - and this is at the less experimental end of his spectrum: [MEDIA]http://youtu.be/v7fHXGibRk0[/MEDIA] Bill Laswell is similarly varied; he's done everything from producing PiL to crazed noisecore via dub, drum'n'bass and ambient (check Material's "Hallucination Engine" for a prime example of very swinging ambient!) Jammaaladeen Tacuma is probably my joint favourite bass player (with Bootsy!). Nobody sounds like him - he was in Ornette Coleman's Prime Time ("check "Of Human Feeling"), did an excellent album with improvisation guru Derek Bailey ("Mirakle" - it's an easy-ish way into crazed free improv) but his best albums are either "Dreamscape" (if you can find it!) or James Carter's "Layin' in the Cut". As for Sonny Sharrock (RIP!), check out "Dick Dogs", or for the full experience, Last Exit with Brotzmann and Shannon-Jackson. Finally, James Blood Ulmer is worth a look - particularly albums like "Phalanx" with George Adams, "Jazz is the Preacher", "Odyssey" and "Black Rock", though in the last decade or so he's been heavily into blues...

A band I used to play in in the early 90s had an on-stage painter who'd paint a back-drop and our white boiler suits while we played. So I'd give the Wal a wipe if there were any really obvious paint spatters. Other than that it gets an occasional dust when I change strings, and sometimes (every 10 years or so) I clean the ook off the fretboard. Last time I changed the battery I discovered orange fluorescent paint in the battery compartment, and some on the corner of a pick-up. Still glows after 20+ years!

[quote name='Bilbo' timestamp='1439546678' post='2843713'] Surely...... Air on a G-String - Bach [/quote] I once played a gig [i]wearing[/i] a G-string and baby doll nightie...

Mine's done... No actual tigers though, just 2 blokes trying not to have a punch up in an Indian restaurant, with my Mrs supplying the calming influence... [size=2][url="http://soundcloud.com/dredd-and-the-badass-weed/easy-tiger"]http://soundcloud.co...weed/easy-tiger[/url][/size]