Leonard Smalls

If you like a bit of a dance, this one's ideal!

The assistant is a sound recordist, as is the person who trassfers rushes (on the very rare occasion this happens anymore), as is the person who records location sound. The person who edits sound (for film/tv, not music) is a track layer or sound editor, and the person who mixes is a dubbing mixer.

I spose Bauhaus came out of new wave... Loved David J's basslines!

They supported us many, many years ago at a dive called The Opera On The Green in Shepherds Bush! I remember there being rather a lot of noise 😁 It might even have been the same night when the first band on was Lost Virgins From Outer Space - an improbably beautiful quartet of Japanese girls who were unable to tune a guitar, or play one for that matter. For them, the only way was up as they couldn't possibly have been any worse!

Bootsy and Jamaaladeen...

They didn't even have one! Their touring rig was so small that everything (the 2 of them, their manager, 2 guitars, 2 tiny combos and a DAT machine) fitted in an old mini...

And we mustn't forget new wave offshoot, No Wave, characterised by funky weird jazzy oddness by the likes of the Bush Tetras and James White/Chance... Here with George Scott 111 on bass:

The Monochrome Set had some cracking bass players, including Andy Warren ex of Adam and the Ants... Twas Jeremy Harrington before him, and their 1st single had an uncredited Simon Croft. Not quite sure if this is the Disquo Bleau or later Rough Trade 7":

I only like 1 thing, and that's The Funk If it's Hard as well I'm even happier. So I like Bach and Schubert (not quite The Funk but great basslines). But not usually opera, as it's about the vox and not even a tiny bit Funky. And I like Motorhead and Dead Kennedys because they're Hard and Surprisingly Funky. But not usually any metal with growly vox as that's not Funky. Apart from Rolo Tomassi. And I like most reggae (Funky), but not usually Country and Western (normally it's Sir Nose Devoid O'Funk). And I like lots of jazz, at least if it's Hard or Funky, which of course excludes most purveyors of elevator muzak a la Kenny G and his ilk. And I can't really be doing with much pop music through the ages because it's neither Hard nor Funky.

I've been busy too... The picture reminded me of going into the local butchers shop a few weeks ago... The butcher was expertly dismembering a pigeon for a customer who was going to do a fancy confit of leg with seared breast in hoojahcapivvy sauce. Hence a rap, in the form of a confessional, detailing with a total lack of empathy how being ignored, mistreated and abused as a child led him to a life of murder... So can I just apologise now? For those who are interested, 2 basses used - Wal and ACG. Keys are Ableton's own piano, plus baby Kontakt funky organ. Guitar is a strat (both) and drums are by Mr EZ, with a few programmed fills. Mixed in Ableton, with the help of Ozone, Neutron and Bassroom.

Not too sure he doesn't believe his own hype... Back in the late 90s I was working at BBC Elstree when Top Of The Pops was filmed there. One week Bon Jovi were due to appear; and it seems they insisted that they had exclusive access to both the canteen and bar over lunchtime. As a result, 500 or so staff had to traipse up to Borehamwood High Street to get any food. This was the only time while I was there that anything like this happened. I remember once going for my lunch wearing my habitual bike leathers and Guzzi logo belt. A big American bloke came over and we started chatting about bikes - he was a Guzzi fan too. Turned out it was Josh Homme from Queens of the Stone Age... Can't imagine JBG doing that!

He's got it in one! or: soft clipping, soft clipping plus grit, square-wave clipping...

This is similar to the argument we used to have with the old-school sound boys in BBC Studios. In Post Production Sound, where I worked, we were of the opinion that our function was to make the audio sound as good as possible - FX or not. Old Studio Boys thought they were there purely to reproduce what they recorded, with virtually no eq, no reverb, no delay, no compression. This was OK if the recorded artist was absolutely perfect, the room was perfect, the recording was perfect; but there was a time when they decided that ToTP should all be live. Some may remember the horrific sounds some bands produced, simply because they would normally play live with their own sound mixer using any fx he/she felt were needed... And nowadays, if a band with limited budget goes into the studio, it's a lot easier and cheaper to quantise that occasional drum beat or bass note that's out of time or to autotune that errant high note, than it is to re-record the whole lot!

Not sure if Flea quite gets the Harmolodic concept, like Al McDowell or Jamaaladeen Tacuma did (saw Ornette with Al back in the late 80s iirc), but then we didn't see the whole performance... Still, he always gives it a good, and I'm deeply jealous he got to play with Mr Shape Of Jazz! (In my defence I once played with members of Lol Coxhill's 80 band in a free-funk-improv beat combo!)

End of fretboard about belly button height... Like this:

Pleased to have seen Sonny live in '91 (he died in '94) with Melvin Gibbs on bass, Abe Speller and Pheeroan akLaf on drums. What a glorious racket!

I always go easy with the yodel. But a wet Bank Holiday gave me plenty of time to get a bit greasy and modal. With a rap that's like Medici getting anecdotal, not Saint Francis of Assisi taking a photo, more like a pugilisti getting scrotal... Er, er...

After the unexpected success of grimey rap last month, I'm working on more rap... Possibly with a grunge edge, as genres are made to be mixed!

Absolutely not! There's some pretty big shoes to fill... Doug used to do this and found something positive to say about every entry. My positive comment would usually be something like "and then mercifully, it ends".

It's like a cat attempting to scratch a blackboard while another cat pours petrol on it, and as he tries to strike a match both of them start sliding down a steepening scree slope made up of innumerable sharp pieces of slate. Meanwhile, someone else is recording that sound, and playing it back through a 70s Waltham cassette player which is mic-ed up and broadcast through a bank of Kay's catalogue guitar combos with slashed speaker cones. In other words, not good!

Tastes do seem to vary wildly! I find just about anything by The Carpenters to be painfully twee and horrifically square - I'd say cheese, but I like cheese, unless it's that processed stuff, or that bland American kack! However, I do like a good pentatonic widdle-fest, or even a modal and chromatic piddle-fest!

It's funny, cos that sounds like cats scratching on a blackboard to me! But then I've never been a fan of JaMC - probably because I like music where it's the instruments are making rhythm and melody with vocals purely a part of it, as opposed to being a drone with any melody being supplied only by the vox (see also The Ramones!!). So droney fuzz guitar is out for me! But then I also don't like single note only-on-the-quaver bass either...

And I was just about to vote for you and Nicko!

I have an eclectic mix of favourite guitarists, including: Buckethead Eddie Hazel Eduardo Niebla James Blood Ulmer Sonny Sharrock Catfish Collins Vernon Reid

When we recorded voiceovers or ADR (I'm an ex BBC TV sound recordist) we'd use Schoepps or Neumann mics going direct into Neve or SSL mic amps in Neve or SSL desks. Any compression (which was minimal) or eq tended to be from the same companies. If it was for a film dub we'd record onto 16mm mag film with Dolby SR, video would be onto Sony DAT. Later, recordings would be digital only into Lightworks, which had very little in the way of plug ins, then when we'd finally got Avid and ProTools to work together, onto that. As far as I know, the ProTools route is still the way for TV (it still is on my old programme), and it was only by about 1999 that we finally started with heavy compression, simply because production people were getting fed up of how loud trails would be between programmes; we went into more subtle multiband as we wanted at least some semblance of dynamic range!