Leonard Smalls

I've actually got an old Apevia case with room for full size motherboard, 4 dvd drives and 3 SATA drives... I could then re-use the laptop 1Tb hybrid drive, plus the 500Gb Samsung that's already in the case, plus new 500Gb SSD, as well as the Asus 24/96 sound card. I'd only need 2 8Gb DDR4 RAM, as there's 2 in the laptop already, just need to buy Corsair Vengeance to match, plus maybe ditch the existing 450W power supply for something a bit bigger. There's already 2 case fans, so one more on the front plus the cpu cooler should do it.

I expect a build time of 20 minutes.

😁

1 minute ago, SH73 said:

I replaced my hard drive in my laptop with SSD

I've got a PC with a 2x500Gb SSD RAID array and that boots in about 5 seconds - and it's got 32Gb of RAM with i7 8700 6 core processor!

Unfortunately I can't nick that for music as it's also running our shop's EPOS system as well as being our home PC!

With the possible new one I'd be tempted to go for about 500Gb SSD for boot and DAW duties, plus large 3Tb off board hard drive which currently has all my music library on it

14 hours ago, Akio Dāku said:

Also what's up with your laptop exactly?

It won't boot...

Just power light and occasionally blinking hard disc light.

It was taking ages to boot - this eventually became an hour so I thought about recovery options, did a chkdsk c:/r/x which showed no problems, did startup recovery, no probs, then thought about re-installing windows so got recovery to try starting from usb then it wouldn't boot at all.

So I reseated the RAM, tried start up from either RAM, re-set the cmos battery and checked for power at motherboard - all fine but still no boot, even using a 2nd screen to check it wasn't just the integrated screen. So I came to the conclusion it was either the on-board graphics, or basically the motherboard, or perhaps the processor.

Final option before binning is to speak to the makers - luckily I've rescued the HD contents.

Looks like my laptop may have bitten the dust - after 5 years it appears to be unbootable due to knacked motherboard or processor.

So what do y'all recommend as a replacement? Might be tempted by desktop as I haven't used it live for 3 years and seems unlikely I'll do any more in the foreseeable.

I'm running Ableton Live 9, currently with only a Scarlett 2i2 as usb input but might be tempted to up that, possibly with firewire unless usb 3.0 is enough, and with plenty of vsts.

I rarely go any more than 16 tracks, but want minimum latency.

And I don't want to spend any money at all if poss, so Apple is probably out.

But we're probably talking i7 at least 6 core, at least 16Gb RAM, preferably with some SSD capacity for fast boot - that was the spec of my laptop which worked well until it didn't any more.

57 minutes ago, jonsmith said:

Maybe ask the drummer to play a few grooves in different time signatures that you can record and then mess around with at home? 

He's sending me some "ideas" with keyboard bass and drums on... Hopefully he'll be happy when I liberally smear my attempt at his bass-line with envelope filter, bass synth and bass whammy, and play it all in a P-Funk style in straight 4:4 On The One.

Perhaps I'll take my platform boots to the next jamhearsal!

What I've done so far is lock into a groove with my own time which is hopefully the same as his! 

I've found this to be much easier with fast stuff than slow where I'm much more visible...

I've been fiddling a bit - breaking the time sig down helps a lot! 

Problem is it's like a rock version of this - luckily the guitar player is the chap who just left my other band so I've played with him for a year:

Problem is the drum pattern is so complex I can't see the groove in it - following the hi hat so far seems easiest as he's doing rolling and shuffle patterns on toms and snare...

I was hoping someone could recommend a bit of software I could load directly into my brain!

But I suspect that's not an option...

The problem isn't so much playing straight 5:4 or 7:8, it's more playing a groove within those sigs that doesn't start on the first note and doesn't follow an obvious groove pattern - I suppose it's a question of practice, and learning to play more melodic lines than I'm used to. I've always played straight riffs that repeat or get developed...

I've just joined yet another band, this time with a seriously good drummer. I mean world-class-good, played with Free Improv types like Evan Parker; problem is I'm well-used to playing standard funk or rock grooves but mainly in 3 or 4 time.

So has anybody got any tips on coping with weird rhythms/time sigs etc? Any exercises, books, YouTube tutorials? 

We're doing crazy, semi-improvised jazz-rock and so far I've managed to busk it by watching his hi-hat like a hawk and dropping notes where appropriate, but it would be nice to find a way to work with strange grooves as well as also being On The One!

It's obvious the boy's very talented. But also quite staid, despite wishing to appear the opposite.

He's trying very hard to be different, but only manages to be a tiny bit different. His piano playing, while very good, is not in the same league as other precocious talents such as Hiromi Uehara either in melody, rhythm or inventiveness. Did anybody say Bobby Crush? 😁 Still, I'd much rather him than much wetter dinner jazz, or The Smiths!

Take your pick!

On 22/07/2018 at 10:07, Dad3353 said:

Lenny's Dad might like it, too. 

I think that unlikely...

Mainly because:

a) he's no longer with us

b) his idea of musical heaven was Chris Barber, or Sidney Bechet

Just now, leschirons said:

At last, someone understands😋

Less of your Radical Silentist talk!

Just now, leschirons said:

playing no notes at all

Now you're getting into zerotonal territory...

3 minutes ago, EBS_freak said:

Mononeon's take on it.

It's very like Bill Laswell's "Baselines" album, though Mr Neon has elevated it by the addition of a sock. Also a hint a Squarepusher...

Genius! 

2 minutes ago, leschirons said:

Such a fine line between extending the boundaries and parameters of  modern music and playing out of tune😂

Out of tune is a relative term...

If we were only talking about our standard western system of 8 note scales within a 12 tone octave, fair enough.

If you listened to Schoenberg, he'd be making music where all 12 tones are equal - that sounds "out of tune" and dissonant if you're only used to the 8 notes we usually use.

However, if you use an interval between notes that isn't an Equal Temperament such as the Chinese tuning, that also sounds "out of tune" to us.

Then you can use notes that are between our 12 tones - like somewhere between E and F - which would be microtones as used by Mr Fuze above, not easy on a guitar without it being fretless!

But more notes means more possibilities, I'm sure we'll soon hear songs in the charts composed using the Bohlen Pierce scale, like this 😁

Mostly?

Not all?

It's slowly seeping in... 

Soon you'll be humming this on the toilet!

As Zappa said - "Does humour belong in music?"

2 minutes ago, EBS_freak said:

I'm just imagining listening to this in my car with my window down and pulling up next to somebody at the lights...

You're getting it - as the Chillis said many years ago: "Funk 'em, just to see the look on their face, funk 'em just to see the look on their face"!

Just one more puff and you'll soon be in my grasp...

Have some Fuze - only partly improvised and relatively sane but an easy way into microtonal stuff and weird keys.

7 hours ago, Earbrass said:

My "gateway drug" was Henry Cow.

I'd never really tried Henry and His Cow... Having dived in a bit seems like the sort of thing I'd really like bits of, and really hate other bits of. I think they're very like Magma - though I think I prefer the Frenchies! It's all a bit drones and repetition though I find the fireworks bits of Magma more exciting - though they're very far from improvised, in fact probably prog!

11 hours ago, Dad3353 said:

Not really a fair comparison; those are pieces of music. 

You sound like my dad! 😉

But getting into this type of odd music is basically a question of finding something that speaks to you a bit, then you're no longer quite so resistant to the next lot of weirdness, then it's a slippery slope to  Zorn's Noisecore... Bit like becoming immune to violence through watching video nasties!

Here's my favourite bit of free improve, featuring Jamaaladeen Tacuma on bass, Calvin Weston on drums (i.e. Prime Time's rhythm section) with Derek Bailey freaking out on guitar:

I had the misfortune today of working at a "family fun day".

There was a girl singing and playing guitar - many people were saying how nice it was to have lovely music; to my ears it was like nails on a blackboard. She strummed basic chords, her song choice was bland, her singing nasal, occasionally a bit flat and increasingly annoying.

But otherwise OK. I mean just about OK. I mean lowest common denominator OK - safe, of no musical interest, boring, kum-by-ah round the campfire OK.

I would have preferred to see the folks shaken up a bit, challenged, taken out of their safe zones. But it'll never happen because it's easier not to - people like what they know and know what they like!

Perhaps this is why I failed as a music promoter! 😁

1 hour ago, Sneakyfish said:

Especially this kind of avant-garde or free-jazz. This sort of thing can really test people and challenge their definitions of art, as it seems to have done for you. It can drive them genuinely insane as well. I personally love it for that, its very punk!

Funnily enough I discovered the weirder end of jazz completely by mistake; I was DJing in Leeds in the 80s - mainly funk. And as there was no real means I knew of finding new music I'd buy stuff completely on spec. One day I saw an album cover with a sharp dressed black guy holding a Steinberger bass - it was an import costing £8.99 (this was 1985!!!) but I thought this looks like new funk, I'll play it at the Warehouse tonight!

It was Jamaaladeen Tacuma's "Showstopper". I played it before sticking it on the dancefloor - didn't sound straight 4:4, there was weird repetition, there were too many notes, it just wasn't right. So I shoved it in the back of my record collection. 

A couple of years later I listened to it again, and somehow it just made sense... But it was a slippery slope, I craved more oddness, more dissonance, more crazy. Ornette and his harmolodics weren't enough. Through Shannon-Jackson I discovered Last Exit, Brotzmann, Bill Laswell, Sonny Sharrock, Steve Lacey, Lol Coxhill and the holy grail - Derek Bailey. It was like starting with a fag behind the bike sheds,  graduating onto a sneaky spliff, onto white powders, bits of blotting paper, and finally, Free Jazz Improv. All other music sounded dull.

After a long visit to the Betty Ford Clinic I was weaned back onto "normal" music, but thanks to this thread I'm hooked again.

Cheers!

12 minutes ago, EBS_freak said:

It's clearly operating at a much higher level than you then!

Most things operate at a higher level than me, unless they're on a lower level. Or the same level, obviously!

Like this though:

3 hours ago, EBS_freak said:

Is this one called Saturday morning instrument window shopping at the music shop?

Perhaps this is more to your taste? There's even some relatively coherent bits...

Bloody rubbish, that!