- Mar 8, 2011
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- Authorized greenboy designs builder/Owner of BNA Audio
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Ambient/Post-Rock/Textural bass playing thread
- Thread starter ttasselm
- Start date
How that song became iconic is beyond me. I used to argue with a ex about the quality of it. She swore it was amazing. I couldn’t find a thing to enjoy about it. I’m sure it must have some merit, but I still can’t find enjoyment in it.
Try playing at jam sessions with « jazz » singer ladies calling that tune in Gb or ,whatever stupid singer key.
How about key of sit the %^&* back down and sip your glass of wine.
(please shoot me)
Edit: I forgot butchered versions of Night in Tunesia also……wanna be Chaka Khan anyone……
(end me again)
ok, rant over. Back to medium grumpy/
Last edited:
We can hang. :beer:
I did a three-month stint as the bass player on a cruise ship way back in my Professional Bass Whore® days, and one of the most memorable milestones of that seemingly interminable gig was that I wound up playing "Girl From Ipanema" every single night for those entire three months.
Every.
Single.
Night.
Also "New York, New York" ...but at least that tune I was not already detesting when I went into the gig.
The funny thing is I love most other Jobim tunes; it's just "Girl From Ipanema" that makes me want to stick a screwdriver into my eardrums.
girl: yeah it can be annoying. played it for many, many, many (many) weddings/bar mitzvahs . . .
during the opening "jazz set" for one band, the saxophonist and i would pull a coup: we'd play the A section, without ever going to the B section. for the next "tune," we'd play the B section without ever going to the A section. now that is kind of great, cause you always think you're going back to the F chord (iirc) and you end up having a false resolution that sounds like a modulation. needless to say we were tickled pink when we did this. we'd also look at each other and say "phillip glass" and then play minimalist motor rhythms through the changes . . . .
the drummer pretty much hated us.
i will say playing *anything* every night can be awful.
try playing a tune every night that is also the set closer for *every* set (omg). i played with a guy who had a hit with "compared to what" . . . and we had to play it 2–3 times a night. **he ** hated it (especially cause people would start yelling out requests for the tune *before* we hit the stage). i did this for 10-11 months a year for three years—by the end of my time, i was drinking *before* the gig and playing chuck berry licks on the tune (i was playing rhythm guitar for this guy).
during the opening "jazz set" for one band, the saxophonist and i would pull a coup: we'd play the A section, without ever going to the B section. for the next "tune," we'd play the B section without ever going to the A section. now that is kind of great, cause you always think you're going back to the F chord (iirc) and you end up having a false resolution that sounds like a modulation. needless to say we were tickled pink when we did this. we'd also look at each other and say "phillip glass" and then play minimalist motor rhythms through the changes . . . .
the drummer pretty much hated us.
i will say playing *anything* every night can be awful.
try playing a tune every night that is also the set closer for *every* set (omg). i played with a guy who had a hit with "compared to what" . . . and we had to play it 2–3 times a night. **he ** hated it (especially cause people would start yelling out requests for the tune *before* we hit the stage). i did this for 10-11 months a year for three years—by the end of my time, i was drinking *before* the gig and playing chuck berry licks on the tune (i was playing rhythm guitar for this guy).
Don't care what yuens think. I like Girl From Ipanema. The old version with Astrud Gilberto singing it.
Don't care to play it myself at a jazz jam or anything. I get why you'd be sick of it after playing it on a cruise ship every day, but that's your fault for taking the gig. Same way I don't ever want to hear Vivian Campbell complain after quitting Dio, going to Def Lepard, and having to play Pour Some Sugar on Me for the rest of his career.
Don't care to play it myself at a jazz jam or anything. I get why you'd be sick of it after playing it on a cruise ship every day, but that's your fault for taking the gig. Same way I don't ever want to hear Vivian Campbell complain after quitting Dio, going to Def Lepard, and having to play Pour Some Sugar on Me for the rest of his career.
I feel like this is the dirty secret of touring. The parts that’s not supposed to be boring...gets boring.
totally. i have friends who do longass tours and i don’t know how they do it.
i think doing improv tours with the same people would get to be tiresome.
So, what do you think is the ideal tour length? Before the pandemic, my post rock band gigged maybe 3 times a year, and my dad rock band maybe 6, which was about perfect for the audiences we could attract.
for me or someone who makes money doing it?
i know some people who love being on the road. i know a lot who got burned out.
for me, maybe 3-6 weeks? but my touring chops are pretty much crap these days.
depends on how cool the people are.
i know some people who love being on the road. i know a lot who got burned out.
for me, maybe 3-6 weeks? but my touring chops are pretty much crap these days.
depends on how cool the people are.
okay.
ambient something? probably not really music? 23:23 of something to walk around your living space to.
synths (iridium and hydrasynth), touch surfaces (ipad synth and linnstrument driving a hydrasynth), drum machine (roland mc 707), and basses + effects (not really recognizable as such).
ambient something? probably not really music? 23:23 of something to walk around your living space to.
synths (iridium and hydrasynth), touch surfaces (ipad synth and linnstrument driving a hydrasynth), drum machine (roland mc 707), and basses + effects (not really recognizable as such).
i keep envisioning this as being the soundtrack to jeremy irons walking around in a stupor in dead ringers.
(thanks)
Orders open up on Friday the 13th.
The Swan Hunter
In brief – it’s a lofi echo and reverb.
It uses the same delay chip as the Woozy (PT2399) and the same reverb as the Skitter (Belton brick). The basic reverb and echo voicings are fairly similar to those pedals but the functionality of the pedal is very different.
It isn’t a modulation pedal, there’s no LFO, but it does have some gritty tape echo sounds, haunting reverbs, gated echo and lofi noise to mess around with.
There’s some feedback and routing allowing long tails and slow building feedback and oscillations. There’s also a few ways to control the levels and keep them from taking over (fore / aft and ballast controls and the second footswitch).
The echo side has an fx loop for its feedback loop, so you can put whatever you like in there.
