i had to look it up and still don’t know what it means. maybe i’ll get it some day.
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Ambient/Post-Rock/Textural bass playing thread
- Thread starter ttasselm
- Start date
i had to look it up and still don’t know what it means. maybe i’ll get it some day.
It’s like doing sudoku, or painting, but with noise makers. It’s creative and problem solving activity that keeps the brain from turning to goo, assuming I don’t smash my head against the wall too many times in the process.
Believe it or not, I got something sorta musical to start playing tonight. I’m starting to understand what all the various modules do and how to make them speak with each other. It’s so frustrating because I conceptually get what should be going on. But the practical implementation is showing that I’m skipping things I know I shouldn’t. Like, why isn’t there sound coming out? Oh, because I patched everything but the cable that goes from the VCA to the output module.
Okay, when you posted that Toast clip last time, it got me hooked. I binged that entire series last week, holy crap, it's one of the funniest shows I ever watched.
It's like figuring out the world's most expensive puzzle.
Yeah, so should the DX7 Whitney Houston FM piano sound, yet somehow, it hasn't. I mean, that preset should just be banned from every synth.
I could see how, if one was not careful, it could bend, or it could be bent in shipping. No problem with mine, though. You definitely don't want to put too much heavy stuff on it. I'm going to reinforce another side of it with wood, so I can clamp a laptop stand on it.
I like slipped and fell and ......euh....got in my cart by itself and euh.....pressed purchase by accident....and ....it was to late to cancel n stuff.
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I would argue that the real culprit of that aural oversaturation is not the Yamaha DX-7 piano sound, but the Roland D-50 and Korg M1 emulations that quickly followed on the heels of the DX-7's success.
This was made rather clear to me during a recording session sometime in the past ~10 or 15 years where a Yamaha TX802 was dragged out of mothballs and reset to the factory stock programs (which include all the original DX-7 presets) and that fake Rhodes sound suddenly struck everyone as being far less annoying than we'd remembered. It's because it doesn't have the overhyped high end sparkle and ambient halo that made the Whitney Houston et al sound so grating.
It's very normal to hate the pedal at first.
I'm a big Janek Gwizdala fan and he recently got one and within an hour of streaming during the unbox, he fully gave up and decided to return it.
Tensor is not a pedal you plug in and figure out right away. Takes some time to bond with, but once you do, it'll likely be your favorite pedal (there is only 20% liklihood that my math is right).
I already know pretty much the main "how" it works. Watched many videos.
So I'm good to go. Already freakin dig it.
As soon as I tried it i found it very intuitive and logical.
I just need to dig the features deeper and get the coordination to loop and glitch the thing with more ease.
It really isn't that complex of a pedal once your brain "clicks" and realizes it's basically just a tape machine....speed of tape, pitch of tape, forwards backwards....
i was having a little fun with the learning component of the term.
on the neuroplasticity tip and and tying into the standards talk a while back.
i practice standards a fair amount.(i'm even doign very rubato on piano, which is fun but humbling.
i don't do it to be "authentic," i do it for the problem-solving aspects of playing lines and motives in time through harmonic areas. while i don't play jazz in public, it does help me with playing free improv, which tends to needs some of those muscles. for me it's all about neuroplasticity (or so i think.)
and i can kind of tie it into reading that bach practiced writing fugues for fun every morning.
i practice standards a fair amount.(i'm even doign very rubato on piano, which is fun but humbling.
i don't do it to be "authentic," i do it for the problem-solving aspects of playing lines and motives in time through harmonic areas. while i don't play jazz in public, it does help me with playing free improv, which tends to needs some of those muscles. for me it's all about neuroplasticity (or so i think.)
and i can kind of tie it into reading that bach practiced writing fugues for fun every morning.
Bach fugues and counterpoint is crazy rich in information and pure out of this world genius.
Re standards....i agree. But I've practiced so.many for so long, its kinda of hard to go back. Like I previously mentioned I break out the omnibook once in a while. That book will kick my @$$ till I die.
the omnibook, like other people’s solos?
as usual, i tend to be more interested in what i’m gonna do with them. color me egocentric.
Curious what y'all are actually practicing these days if you do practice?
I mostly just plug in and play and very rarely go down the same path more than once. From a woodshedding perspective, I'm REALLY SLOWLY working my way through Janek's chordal harmony book and on guitar, I'm trying to learn how to play Jimi Hendrix tunes the way Jimi plays them as I feel there's a ton to learn by learning from his playing. Everything goes REALLY slow though since my time is divided between just goofing off/having fun w music and gear, learning about 50 different complex pedals, working on my rig, occasional writing/recording and woodshedding.
My girlfriend got me the Beato Book as a gift, so I've been going through that. It's a lot of theory rehash that I already know but as I get deeper into it I see things I didn't know about before. It's also mostly guitar-oriented so it forces me to pick up my Strat and practice on, which is good because I suck at guitar.
I also often go down a list of rock tunes on youtube just for fun and to keep my bass chops up.
my regimen incorporates any of the following (this is all morning away from amp/effects, which happens later):
alternating fingers/string crossing: different combinations, trying to mix up odd and even tuplet groupings to increase fluidity; constant quarter note.
the standards: sometimes it's playing like "jazz," sometimes it's playing odd-time grooves through them, sometimes it's more chordal.
playing in the style of improv: fake mozart, fake steve reich, fake bach (i've even tried fake stravinsky and bartok, but that seems like usual). sometimes i'll do that through standards.
trying to get my tuplets together: see the string crossings things; also basing stuff on fibonnaci series (2-3-5-8 is about what i can do; also try to go farther with fibonnaci groupings); some of this veers into lameass versions of kanakol.
free playing: letting it go is fun
groove: get those micro timings better; try different (unusual) techniques in the groove
intonation on fretless
modes: in addition to standard modes, harmonic major, melodic minor, harmonic minor
pick and finger playing for all for the above
alternating fingers/string crossing: different combinations, trying to mix up odd and even tuplet groupings to increase fluidity; constant quarter note.
the standards: sometimes it's playing like "jazz," sometimes it's playing odd-time grooves through them, sometimes it's more chordal.
playing in the style of improv: fake mozart, fake steve reich, fake bach (i've even tried fake stravinsky and bartok, but that seems like usual). sometimes i'll do that through standards.
trying to get my tuplets together: see the string crossings things; also basing stuff on fibonnaci series (2-3-5-8 is about what i can do; also try to go farther with fibonnaci groupings); some of this veers into lameass versions of kanakol.
free playing: letting it go is fun
groove: get those micro timings better; try different (unusual) techniques in the groove
intonation on fretless
modes: in addition to standard modes, harmonic major, melodic minor, harmonic minor
pick and finger playing for all for the above
I usually take small chunks and create from that.
Even 1 bar can get you going for a long time.
I'm not learning any solos atm that's for sure
