Ambient/Post-Rock/Textural bass playing thread

[JES]

looking for a little advice. Here's this morning's noodle.



I feel like I'm not letting stuff rest enough, and substituting hand movement for intentional harmonic or melodic development. Noodling where I want intention, I guess?

What I'm going for is actually something sparser and moodier. I feel like when I'm doing stuff with synths I can just let the notes sit and draw out timbres. For instance, here:



But of course with a stringed instrument that's harder to do on a clean sound. I think my problem is I need to simply let stuff sit and then intentionally move to the next thing.

Any suggestions for getting over this hump in my playing? I feel like I've been stuck here for awhile in my solo playing. I mean, I am fine in a band context resting for a verse or just hitting a whole note if that's what's needed. But for some reason with solo stuff I am less likely to let myself just sit if it's on touch guitar.

I listen to tons of minimalist music (in the general sense) where not much happens--I'm a regular purchaser of Room40 recordings, so I get the aesthetic intellectually. I feel like my hands just aren't cooperating.

I was thinking of maybe an exercise where the touch guitar is ONLY sample food/an oscillator so I am never heard just playing. But I'm not going for something that absolute.

EDIT: I also default to C minor too much but that's just the shape of my two primary instruments (Linnstrument and touch guitar). I just need to pick another key each day or something.

On a happier note, I really feel like I've gelled with the Cosmos as a composition partner. I know how to fill it up, turn it over, nudge it, empty it out. I just wish for slightly more control with the granular algorithms.

 

[JES]

Did I write this?

No, I am pretty sure I did. I am in mixing hell with my dad rock band. It just needs to end.

 

[lucas303]

Did I write this?

I've at least made it to the mastering stage. I'm actually quite happy with my mixes, but I don't fully trust my damaged ears.

I'm sending it out for mastering because my ears are also damaged and I am definitely don't have the EQ and compression skills to even come close to doing a reasonable job of it.

 

[JES]

Always a good idea to pay a mastering engineer.

 

[lucas303]

looking for a little advice. Here's this morning's noodle.



I feel like I'm not letting stuff rest enough, and substituting hand movement for intentional harmonic or melodic development. Noodling where I want intention, I guess?

What I'm going for is actually something sparser and moodier. I feel like when I'm doing stuff with synths I can just let the notes sit and draw out timbres. For instance, here:



But of course with a stringed instrument that's harder to do on a clean sound. I think my problem is I need to simply let stuff sit and then intentionally move to the next thing.

Any suggestions for getting over this hump in my playing? I feel like I've been stuck here for awhile in my solo playing. I mean, I am fine in a band context resting for a verse or just hitting a whole note if that's what's needed. But for some reason with solo stuff I am less likely to let myself just sit if it's on touch guitar.

I listen to tons of minimalist music (in the general sense) where not much happens--I'm a regular purchaser of Room40 recordings, so I get the aesthetic intellectually. I feel like my hands just aren't cooperating.

I was thinking of maybe an exercise where the touch guitar is ONLY sample food/an oscillator so I am never heard just playing. But I'm not going for something that absolute.

EDIT: I also default to C minor too much but that's just the shape of my two primary instruments (Linnstrument and touch guitar). I just need to pick another key each day or something.

On a happier note, I really feel like I've gelled with the Cosmos as a composition partner. I know how to fill it up, turn it over, nudge it, empty it out. I just wish for slightly more control with the granular algorithms.

I liked that so I can't offer much criticism, and I am likely the least knowledgeable/experienced person in this thread so I'm not sure how much help I can be at all. But one idea did occur to me.... I assume you have that lead touch guitar as its own track in your DAW. If so, maybe try cutting/muting parts to make it more sparse after the fact as an exercise if nothing else. Trim it down to where you're happier with it, then use that as a template for practicing/jamming off of. Just an idea.

 

[steubig]

looking for a little advice. Here's this morning's noodle.



I feel like I'm not letting stuff rest enough, and substituting hand movement for intentional harmonic or melodic development. Noodling where I want intention, I guess?

What I'm going for is actually something sparser and moodier. I feel like when I'm doing stuff with synths I can just let the notes sit and draw out timbres. For instance, here:



But of course with a stringed instrument that's harder to do on a clean sound. I think my problem is I need to simply let stuff sit and then intentionally move to the next thing.

Any suggestions for getting over this hump in my playing? I feel like I've been stuck here for awhile in my solo playing. I mean, I am fine in a band context resting for a verse or just hitting a whole note if that's what's needed. But for some reason with solo stuff I am less likely to let myself just sit if it's on touch guitar.

I listen to tons of minimalist music (in the general sense) where not much happens--I'm a regular purchaser of Room40 recordings, so I get the aesthetic intellectually. I feel like my hands just aren't cooperating.

I was thinking of maybe an exercise where the touch guitar is ONLY sample food/an oscillator so I am never heard just playing. But I'm not going for something that absolute.

EDIT: I also default to C minor too much but that's just the shape of my two primary instruments (Linnstrument and touch guitar). I just need to pick another key each day or something.

On a happier note, I really feel like I've gelled with the Cosmos as a composition partner. I know how to fill it up, turn it over, nudge it, empty it out. I just wish for slightly more control with the granular algorithms.

seriously heavy subject.

miles davis comes to mind: “take the horn out of your mouth.” (but his soloing is also a good reference point.)

my personal attempts are based in emulating singers and trumpet players, both of whom have to impart a lot of information in small ranges and need to breathe, so they have to stop producing sound. inflection is key.

leave space and trust the vacuum, you don’t have to fill it all the time and what comes out of it will be that much more powerful. listen to what you’re playing in the moment and pay attention to what needs to come next, not what the fear of space tells you.

melody and release.

your imagination should drive your hands (see the miles quote). i find this is not the way most people play/solo. (me included)

my thing is often to think about what i’m trying to achieve and imagine “solos” *away from the instrument*—and then try to play that… and keep banging my head at it. (i think this works with composition as well.)

imo, ime, ymmv, etc.

 

[steubig]

ps

play what you hear.

you’re already getting over the hump because you know you want to change and can imagine what you think is lacking in your playing.

 

[ugly_bassplayer]

26466390[/URL], member: 37282"]looking for a little advice. Here's this morning's noodle.

[Invalid or Expired Link Removed]

I feel like I'm not letting stuff rest enough, and substituting hand movement for intentional harmonic or melodic development. Noodling where I want intention, I guess?

What I'm going for is actually something sparser and moodier. I feel like when I'm doing stuff with synths I can just let the notes sit and draw out timbres. For instance, here:

[Invalid or Expired Link Removed]

But of course with a stringed instrument that's harder to do on a clean sound. I think my problem is I need to simply let stuff sit and then intentionally move to the next thing.

Any suggestions for getting over this hump in my playing? I feel like I've been stuck here for awhile in my solo playing. I mean, I am fine in a band context resting for a verse or just hitting a whole note if that's what's needed. But for some reason with solo stuff I am less likely to let myself just sit if it's on touch guitar.

I listen to tons of minimalist music (in the general sense) where not much happens--I'm a regular purchaser of Room40 recordings, so I get the aesthetic intellectually. I feel like my hands just aren't cooperating.

I was thinking of maybe an exercise where the touch guitar is ONLY sample food/an oscillator so I am never heard just playing. But I'm not going for something that absolute.

EDIT: I also default to C minor too much but that's just the shape of my two primary instruments (Linnstrument and touch guitar). I just need to pick another key each day or something.

On a happier note, I really feel like I've gelled with the Cosmos as a composition partner. I know how to fill it up, turn it over, nudge it, empty it out. I just wish for slightly more control with the granular algorithms.

I’m not really good at writing down complex ideas so I’ll keep this simple

i learned about using silence in 2 instances

in jazz ensembles , learn to shut the /&;$; up and listen to the soloist

and playing a lot of George Porter Meters in my old funk band
His lines are perfect, they let the groove breath and be organic.

Also learned the silence creates a certain sense of tension and release. It’s an extremely powerful effect on musical pieces. I use this a lot in my Lyra pieces, I sure ain’t no Cage or Reich but hey, at least I put in the work and try.


I’ll stop now so I don’t get tongue twisted
I’d go into further detail but I’m not a very good writer as previously mentioned

look into some musique concrète maybe you’ll get some fresh ideas there

 

[monsterthompson]

looking for a little advice. Here's this morning's noodle.



I feel like I'm not letting stuff rest enough, and substituting hand movement for intentional harmonic or melodic development. Noodling where I want intention, I guess?

What I'm going for is actually something sparser and moodier. I feel like when I'm doing stuff with synths I can just let the notes sit and draw out timbres. For instance, here:



But of course with a stringed instrument that's harder to do on a clean sound. I think my problem is I need to simply let stuff sit and then intentionally move to the next thing.

Any suggestions for getting over this hump in my playing? I feel like I've been stuck here for awhile in my solo playing. I mean, I am fine in a band context resting for a verse or just hitting a whole note if that's what's needed. But for some reason with solo stuff I am less likely to let myself just sit if it's on touch guitar.

I listen to tons of minimalist music (in the general sense) where not much happens--I'm a regular purchaser of Room40 recordings, so I get the aesthetic intellectually. I feel like my hands just aren't cooperating.

I was thinking of maybe an exercise where the touch guitar is ONLY sample food/an oscillator so I am never heard just playing. But I'm not going for something that absolute.

EDIT: I also default to C minor too much but that's just the shape of my two primary instruments (Linnstrument and touch guitar). I just need to pick another key each day or something.

On a happier note, I really feel like I've gelled with the Cosmos as a composition partner. I know how to fill it up, turn it over, nudge it, empty it out. I just wish for slightly more control with the granular algorithms.

Also, that noodle is pretty good.

 

[ugly_bassplayer]

Here is one of my favourite Morton pieces played by the incredible Sabine Liebner
Incredible interpretation and use of space. You can hear the piano harmonics start to blend and rub when they drift off into silence, it’s magical

 

[steubig]

^^

it’s interesting to let overtones ring and decay on bass. very cool with a bit of (non-gated) distortion or overdrive.

 

[dukeorock]

looking for a little advice. Here's this morning's noodle.



I feel like I'm not letting stuff rest enough, and substituting hand movement for intentional harmonic or melodic development. Noodling where I want intention, I guess?

What I'm going for is actually something sparser and moodier. I feel like when I'm doing stuff with synths I can just let the notes sit and draw out timbres. For instance, here:



But of course with a stringed instrument that's harder to do on a clean sound. I think my problem is I need to simply let stuff sit and then intentionally move to the next thing.

Any suggestions for getting over this hump in my playing? I feel like I've been stuck here for awhile in my solo playing. I mean, I am fine in a band context resting for a verse or just hitting a whole note if that's what's needed. But for some reason with solo stuff I am less likely to let myself just sit if it's on touch guitar.

I listen to tons of minimalist music (in the general sense) where not much happens--I'm a regular purchaser of Room40 recordings, so I get the aesthetic intellectually. I feel like my hands just aren't cooperating.

I was thinking of maybe an exercise where the touch guitar is ONLY sample food/an oscillator so I am never heard just playing. But I'm not going for something that absolute.

EDIT: I also default to C minor too much but that's just the shape of my two primary instruments (Linnstrument and touch guitar). I just need to pick another key each day or something.

On a happier note, I really feel like I've gelled with the Cosmos as a composition partner. I know how to fill it up, turn it over, nudge it, empty it out. I just wish for slightly more control with the granular algorithms.

I liked the bass thing, sorry!
If you feel like it’s an honest performance, there’s no rule about note count, but I do get your point.

 

[JES]

Thanks everyone! It’s also possible I’m being excessively self critical.

The overtones on the touch guitar are something else because of the 5ths tuning. I should try to build something around that.

 

[monsterthompson]

Thanks everyone! It’s also possible I’m being excessively self critical.

The overtones on the touch guitar are something else because of the 5ths tuning. I should try to build something around that.

I think the intention is the challenge in minimal composition. Movement can be misdirection that signals to the listener - I’m capable of playing my instrument in ways that display technical proficiency. But that’s an “easy out.”

A lack of movement implies each move should be meaningful, but as parts become simplified there’s a sense that they become rudimentary. Perhaps a more sophisticated observer can identify the subtleties, but that limits the audience for the composition.

Layer in the performer’s brain that wants to display talent, and you’re fighting your instinct to overplay. It’s like being a magician knowing how a trick is done and wanting to explain it to the crowd. Or, like telling a joke but rushing the punch line and explaining the joke to the crowd. It’s very difficult to move with slow, deliberate intention, and fight your own brain’s urges to show off, and fight the insecurity from worry that the audience might misunderstand piece.

 

[JES]

In my case, I don’t feel like it’s an urge to show off so much. I mean, I have that but I have a couple “blazing” solos in my post rock band where I get to do that. I think for the solo stuff it’s more impatience, which is definitely one of my less appealing character traits. I have only been doing touch guitar for a little under 3 years, and so when I’m doing this stuff, it’s more about not quite knowing what’s going to happen when I do something. Especially in the relation between low and high where consonance and dissonance sound different to me. So I just want to know already.

I will try again tomorrow, maybe with the same background.

 

[monsterthompson]

I sold a bass today.
Now to figure out if I’ll follow through on the baritone.

 

[JES]

Have you decided on which one?

 

[Bob_Ross]

as parts become simplified there’s a sense that they become rudimentary.

I forget who made this observation, it may have been Robert Fripp (?) but in any case it's a quote that's stuck with me for decades and that I try to keep in the back of my mind when creating:

"There's a difference between 'simple' and 'simplistic' "

 

[monsterthompson]

Have you decided on which one?

I think I have. It’s back ordered at Sam Ash for new ones, but I’ve found a couple of used ones. I’m floating out questions to the sellers.

 

[lucas303]

I think the intention is the challenge in minimal composition. Movement can be misdirection that signals to the listener - I’m capable of playing my instrument in ways that display technical proficiency. But that’s an “easy out.”

A lack of movement implies each move should be meaningful, but as parts become simplified there’s a sense that they become rudimentary. Perhaps a more sophisticated observer can identify the subtleties, but that limits the audience for the composition.

Layer in the performer’s brain that wants to display talent, and you’re fighting your instinct to overplay. It’s like being a magician knowing how a trick is done and wanting to explain it to the crowd. Or, like telling a joke but rushing the punch line and explaining the joke to the crowd. It’s very difficult to move with slow, deliberate intention, and fight your own brain’s urges to show off, and fight the insecurity from worry that the audience might misunderstand piece.

I've found a clever way around this problem: a complete lack of technical proficiency!