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Ambient/Post-Rock/Textural bass playing thread
- Thread starter ttasselm
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Watching it now. This is so great! Also, a reminder that the elites of the 1910s we b*tth*les for being so scandalized by the subject of the ballet. Or the whole "in two keys at once" thing. I guess we'll never know for sure: Did The Rite of Spring really spark a riot?
Stravinsky intentionally provoked the snob « elitists » of the supposed upper class.
Also, we as musicians often miss the entire part of the ballet being revolutionary. One of my best friends was a ballet dancer ( his brother btw danced for the Grand ballet Canadien and in Europe) and told me that the Ninjiski choreography was I also intentionally « scandalous » for the snobs and was a bigger part of the said riot than we think.
Basically Stravinsky and Nijinsky teamed up to craft an absolute masterpiece game changing piece of art that was a huge F$& you to the upper class elite snobs of the times
How punk is that!!!!!
@JES
Wait till you get to the « sacrifice » with the levitation of the dancer.
Epic
Wow - I missed a lot - don't have the headroom to absorb it all - I have responses in mind, but for now will just share this which randomly (?) showed up after I watched the "weirdest music tech" video
I'm not even particularly a Bowie fan, but I appreciate what he says here, especially going into a gig. I set up a bunch of stuff today, forgot a couple of things though, plus have to get the koto/shakuhachi player set up. And the PA will get set up at some point from 5 pm on. Planning to try and video/audio record as well, though that adds another layer of complexity. But as far as performing, I just need to manifest my thing, regardless of the reaction, though of course the audience is a part of the performance - doh!
Thanks for sharing this. I have only ever listened to it, never seen it! Not even an orchestra playing it. It was great to see what I thought was an oboe but actually a bassoon playing the opening melody - I don't think I ever thought of it before. I'm pretty much self-taught re: early 20th century music. It was especially interesting to see the ballet - to be honest, I didn't really like it, but I think it's because 1) I'm not attuned to ballet or dance at all, and 2) I had my own ideas in my head for the music - not necessarily visual - so I found it kind of jarring. I wish I had seen the ballet when I was younger!
Working through some modular ideas. The 4MS Ensemble Osc is paired with a Chainsaw from Acid Rain. It's going through some Zoia effects and the Noise Engineering Desmodus Versio. I'm trying some drum sequencing ideas. Still pretty rough, but I'm enjoying the development and sharing because I needed to test the waters with recording... It is good that I did because I found some issues along the way. The Headphone mix from the modular box did not translate to the stereo-in on the interface, initially.
I turned out to really like the ballet, which is weird because usually I don’t like ballet at all. Maybe it caught me at just the right moment—sort of the converse of @hieronymous . As for Bowie, I found it very inspiring. But depending on what you’re doing, serving the audience (or other collaborators) is ok too. Art doesn’t always have to be ART to be worthwhile.
That was actually fairly ground-breaking at the time; prior to "Le Sacre" no one had written for bassoon in that register.
One of my professors at the Conservatory told me that when he was a young music student (mid-20th Century, 1940s or 50s) his professors had taught him some funny made-up lyrics to remember what a milestone that was; sung to the opening phrase of "Le Sacre" it went something like
"I'm not an English horn;
I'm a high bassoon!"
Come for the pedals, stay for the bassoon jokes.
Survived my gig, relatively unscathed! Took lots of gear pics, may post later. Wasn't happy while it was happening, but enjoying the results - glad I can rearrange/transform/edit what happened! Here's a piece:
I definitely went in with a less than ideal attitude - but in a way I think that was warranted by the circumstances - too much gear, not enough prep/practice, not many people, and those present not interested lol - wanted to just do my thing, and in a way I did, but I also felt dissatisfied while it was happening. But that's why I love recording - the opportunity to listen back, and when possible, manipulate!
I definitely went in with a less than ideal attitude - but in a way I think that was warranted by the circumstances - too much gear, not enough prep/practice, not many people, and those present not interested lol - wanted to just do my thing, and in a way I did, but I also felt dissatisfied while it was happening. But that's why I love recording - the opportunity to listen back, and when possible, manipulate!
ah, but how often is it the opposite? satisfied in the moment, only to be confronted withe the recording after
nice work.
I have long made it a point to A) not worry about whether I can gauge the audience's interest while I'm performing (because at least half the time I'm getting it wrong), and B) not believe the audience's interest when they explicitly express it to me afterwards (because at least half the time they're just saying some crap to make me feel good. And the other half I'm an idiot for not taking their feedback at face value.)
A couple of pics - too much gear:
But packed up it doesn't seem so bad (the crates on the left aren't mine):
Mic stand for the Shakuhachi mic not pictured - I left it behind - doh! Fortunately I can get it back without too much trouble.
Thanks! I also hate when I think it's a good performance, but something goes wrong with the recording!
Definitely need to keep A) in mind. I think I tend to be in my head a lot when I'm playing - lots of air signs in my horoscope, plus if I'm feeling insecure it can be harder to shut off.
But packed up it doesn't seem so bad (the crates on the left aren't mine):
Mic stand for the Shakuhachi mic not pictured - I left it behind - doh! Fortunately I can get it back without too much trouble.
ah, but how often is it the opposite? satisfied in the moment, only to be confronted withe the recording after
nice work.
Thanks! I also hate when I think it's a good performance, but something goes wrong with the recording!
Definitely need to keep A) in mind. I think I tend to be in my head a lot when I'm playing - lots of air signs in my horoscope, plus if I'm feeling insecure it can be harder to shut off.
i was in a band that i labeled as "having more gear than sense." (guitar player and i both went stereo, vocalist used a lot of electronics, drummer use drumset and percussion; setup took linger than the set. 
)
but you do have a lot of gear there!
)but you do have a lot of gear there!
i was in a band that i labeled as "having more gear than sense." (guitar player and i both went stereo, vocalist used a lot of electronics, drummer use drumset and percussion; setup took linger than the set.
but you do have a lot of gear there!
I would have less if I didn't run two separate signal chains for the bass - the CP-251/Frostwave Resonator/Z Vex Mastotron is a whole 'nother layer of complexity that isn't really necessary - I wish I could have something more compact for that sound - maybe a small modular rig is in order? Wait, that's more gear!
I think a “lot” is defined by two things.
1. Are you able to keep track of everything you need to in a performance? In this sense, modular might be worse because at least Eurorack is smaller.
2. Are you using it well? I realize this is a matter of opinion. But I saw a band this summer where the guitarist had a massive pedalboard, a massive rack, a laptop, and then played this Edge-like thing that could be achieved with a single delay, and had very pedestrian drive sounds. It’s not like I need fireworks all the time but after three tunes, I was done. With all that, I expect something I don’t expect. I guess if I’d loved the music I would have stayed longer.
—
Great band practice tonight with the instrumental band. We worked on a Dawn of MIDI style divide up the groove kind of thing. Challenging and interesting.
1. Are you able to keep track of everything you need to in a performance? In this sense, modular might be worse because at least Eurorack is smaller.
2. Are you using it well? I realize this is a matter of opinion. But I saw a band this summer where the guitarist had a massive pedalboard, a massive rack, a laptop, and then played this Edge-like thing that could be achieved with a single delay, and had very pedestrian drive sounds. It’s not like I need fireworks all the time but after three tunes, I was done. With all that, I expect something I don’t expect. I guess if I’d loved the music I would have stayed longer.
—
Great band practice tonight with the instrumental band. We worked on a Dawn of MIDI style divide up the groove kind of thing. Challenging and interesting.
Got a couple new modules. Frapp 321 scale/offset, and a Befaco Stmix stereo mixer. I brought out a few old modules from storage and got to the point where I could create some sophisticated mix routing. I’m getting closer and closer to ditching the Zoia in favor of hands-on physical knobs and buttons controls. My brain is finally grasping how certain modules work and the power of complex modulation.
I also should get my bass out soon.
I also should get my bass out soon.
