scalpy

The singer in our band runs the local BMW/Mini garage. He has a golden rule with his staff, never ever comment on the customers existing car. He’s very successful! Meanwhile, back on topic, I really fancy the darker blue cab for pit gigs and rehearsals.

The principle is still the same, just like you’d learn licks that fit over certain harmonies, learn rhythmic cells that fit over the metre. Tempo Advance is a great app for using to practice.

Count groupings if threes and twos. For instance the Take Five standard is 3+2. There are typical groupings, 7 is normally 3+2+2 etc but it’s definately worth a conversation with your drummer, some are more adventurous! After you’ve got your head round that, use the same principle as you would for arpeggios and scales. Work out a set of rhythms that adds up to 2 beats (quavers or crotchets) for starters, then a set of rhythms that add up to three. Then decide on a metre, 3+2 for example, pick a rhythm for each and hammer out a chord change on root notes until you feel comfortable. Then try using chord tones etc and scaffold up from there. In this video the tune is in 5. What I decided to do was reverse the typical Take Five rhythm for the verses so 3 = 3 straight quavers and the 2 = semiquaver quaver semiquaver before using the normal pattern for the chorus. As the drummer has the ability to bend time and space I stuck to this formula a) to provide a reference for all concerned and b) if I deviate I get hopelessly lost!

A plain and simple studio format show hardly warrants any excitement now. Festival coverage seems to be greater, where it being an event carries a lot of the sense of occasion. I do agree that YT is a great source of live music, especially the channels that present a challenge to the act such as NPR. I do miss the ‘old days’ of festivals where artists battled stage volume, rubbish monitoring and a feral crowd of non-paying chemically addled lunatics to produce tribal moments of celebration than the sterile health and safety of today, but I’m not paying the insurance bill so I can say that!

I have an ASAT (really needs a set up) and an LB100 if you’re about in the 3 counties area and fancy trying them.

Same here.

Had it clarified by his engineer of ten years, Macca writes with his left. This thread has also had me trying to play left handed, ironically the right hand job is pretty straightforward but I can't make my left do what I want! (I'm a southpaw that plays right)

Not sure TBH, quite a few photos of Hendrix writing though, I had to go and check!

Hendrix

I'm quite fussy. We sort where the PA is going first, then POWER! Got fed up of everyone acting as individuals, everything being in place and nowhere to plug in. Now we operate a factory line approach. The singer and I sort the PA and power, the drummer puts his mat in place, lights/amps/ monitors go in. Cases are not allowed in the performance space, drives me nuts moving everything three times because the stage is cluttered. I've trained the drummer to assemble his kit off stage, we run the mic cables to him and the bass/guitar mics with the kit out of the way. He then slots his stuff into place whilst we do the last of the lights and we're ready. It's an 8 piece band and too many people helping actually slows us down. If I'm playing with another band that's got pro level players I always astonished at how quiet and fuss free the process is.

Opened with the chorus before seguing into the usual stuff on Saturday. Rationale was we were bound to be asked to play it so we knocked out 16 bars to preempt any drunken punters! Worked a treat- great gig.

Boss tweed is actually, the boss! 😉

I only learnt the bass to play in an originals band with my brother. When that faded I didn’t really maintain playing, then a drum teacher asked me to play the bass part in a grade 8 kit duet. No problem I thought and duly got my butt kicked. Since having to play other people’s material I’ve had to really scrub up, so my sloppy earlier career might have had a bigger part in my originals band’s demise than I would’ve admitted when I was younger!

Normally avoid ‘virtuoso’ bass players but Michael Manring blows my mind.

Now late for work, cheers!

Unfortunately the drummer thing has some substance in my view. The old adage 'You're only as good as your drummer' will probably be my choice of epitaph! The evidence is clearly on display this week, the pit band play for another company with a different, pro drummer, will band call West Side Story in three hours for example and hit every tempo correctly for the entire week. This week the resident drummer is in- sounds like a gorilla building a shed after 4 cans of red bull.

Funny this topic should come up this week as I’m doing a show week (I do about 8 or 9 am drama ones a year with a team of uni/ conservatoire trainer musos) At the dress rehearsal I asked the piano player to turn down- no problem. The trumpet player asked the French horn player to swop places as those things are the Marshall stack of the orchestra, no problem. The guitarist asked the drummer to take it easy- no chance, coincidentally the drummer is crap. Anytime I work with really good musicians, they play for the room. I did a restaurant gig with a London session drummer once, he played kick, snare and hats only, twigs for sticks and I swear it was one of the deepest grooves I have ever played to. Wish he was on this weeks gig!

I've posted it here before and I'm doing it again- fills the criteria above, Meters and Toussaint.

He says it’s pino in the first line. I think.

At work there’s 3 acoustics, acoustic bass, an electric, a trumpet, a keyboard, Marshall half stack and hartke bass rig- plus I get to play whatever music I like loudly at whoever’s in the room. But I’m a music teacher, perk of the job.

Exactly, plus he’s a pro musician with kids, who knows what the circumstances are, dropping the kids off somewhere perhaps before going off to whatever session etc. I always leave putting the bass in the car to last but sometimes it just can’t be avoided. One thing I have done is made sure the car has black upholstery, and bought a seat cover/ bag to protect the interior from cases and lighting rigs etc. I can put the bass behind the front seats and cover it and from the outside it’s practically invisible. Wouldn’t stop the most determined thief but certainly helps.

That would be the dream- I normally end up dribbling considering the Monique.

Thank you, I shall investigate- again there’s plenty of applications post session. Do you have one by the way, please?

You been talking to my wife?!!!!! Sage advice, that should probably be heeded. The studio does have that breed of kit. http://www.rockfieldmusicgroup.com/default.asp?contentID=559

Do you know about availability and price please? A turbo search didn’t reveal much but that certainly looks like a great option. I’ve realised after this thread that there’s no point in going for super pure, the studio has always done that for me. Ideally I want something that has really good quality signal but some flavour to it, that I can get in time- hence no noble, they don’t seem to come up for sale! So JHS colour box has come up a few times, that certainly gives lots of applications post session as well as being sufficiently interesting. Certainly sounds great in YT videos and comes highly recommended.