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Ambient/Post-Rock/Textural bass playing thread
- Thread starter ttasselm
- Start date
Considering swapping the korg for an Erica Seq or a Make Noise 0 Control and a quantizer....
Forma Tadre is good listening while reading William Gibson, I’m finding
Speak of the devil, Forma Tadre has a new release coming out!
▶︎ Geiger's Day | FORMA TADRE (bandcamp.com)
<iframe style="border: 0; width: 350px; height: 470px;" src="https://bandcamp.com/EmbeddedPlayer...kcol=0687f5/tracklist=false/transparent=true/" seamless><a href="">Geiger's Day by FORMA TADRE</a></iframe>
Always amazed at how much you can do via RTFM.
Having a blast making nonsense with the Bloom.
Having a blast making nonsense with the Bloom.
@dukeorock I’m starting to see what you meant about the Black Hole DSP. I ran my bass through it and there’s some effects I’m less impressed with. I think what you feed it is critical to what you get out.
I’m contemplating that Black Sequencer but it would mean booting a bunch of modules to make space for it. The Black Hole takes up a lot of real estate, and I could still return it to fund the Sequencer. Hmmm.
I’m contemplating that Black Sequencer but it would mean booting a bunch of modules to make space for it. The Black Hole takes up a lot of real estate, and I could still return it to fund the Sequencer. Hmmm.
You wouldn't have to go through this nonsense if you just bought that module I told you about a few days ago.
- Mar 8, 2011
- 12,232
- 51,187
- Disclosures
- Authorized greenboy designs builder/Owner of BNA Audio
The real estate of the Black Sequencer has kept me away so far, but I’m gonna go on modular grid and try to figure out how to make it work
I have a Make Noise skiff I’m not using, so I’d thought of maybe setting up two separate ‘instruments’ that way. They could still interact, but I could pull one off the table too, if I feel overwhelmed by all that stuff. I’d be like to get a handle on the Norand Mono before diving into more learning curves though. Norand is supposed to arrive Monday.The BHDSP is really nice, but always has a certain color, regardless of which effect I used. I just wasn’t feeling it at the time. I’d rather figure out how to patch my pedals into the rack because I have several that sound much more interesting to me.
The Black Sequencer is the most interesting eurorack sequencer option I’ve seen to date, by a long shot. The Hermod is amazing, but there’s no way I’m going to squint at that tiny screen all day and menu dive my way through a tune. Eric figured out how to arrange things around those nice sized knobs which strikes me as much more ‘playable.’
- Mar 8, 2011
- 12,232
- 51,187
- Disclosures
- Authorized greenboy designs builder/Owner of BNA Audio
The real estate of the Black Sequencer has kept me away so far, but I’m gonna go on modular grid and try to figure out how to make it work
The BHDSP is really nice, but always has a certain color, regardless of which effect I used. I just wasn’t feeling it at the time. I’d rather figure out how to patch my pedals into the rack because I have several that sound much more interesting to me.
The Black Sequencer is the most interesting eurorack sequencer option I’ve seen to date, by a long shot. The Hermod is amazing, but there’s no way I’m going to squint at that tiny screen all day and menu dive my way through a tune. Eric figured out how to arrange things around those nice sized knobs which strikes me as much more ‘playable.’
I did the whole modulargrid thing already. In theory, I might be able to get rid of my Pam's Workout and MIDI/CV modules with the Black Seq. I could probably also get rid of my Erica Black Output module since I have small-form output modules.
I've got a 2x84 and 1x84 skiff in one single rack (3x84 total). I've toyed around with how to downsize to have two independent skiff racks that are self contained instruments. Like sequencer and oscillators in one and effects in the other. Really, a 104 size is the way to go if you are adding the Black Seq.
A great space saver has been the Acid Rain Chainsaw. That little module is great for the size, and it frees up a lot of room.
Well, not ambiant related but still.....
Fretless is still kicking my @$$ to practice ALOT more.
Getting into chordal voice leading and such.
Then more scales, arpeggios and the usual.
Some ideas for slower textural stuff also, maybe missing a few tools (Read pedals ....euhhhh)
Guilted to woodshed ftw!!!
The Neunaber wet is crazy good sounding with a fretless btw
Fretless is still kicking my @$$ to practice ALOT more.
Getting into chordal voice leading and such.
Then more scales, arpeggios and the usual.
Some ideas for slower textural stuff also, maybe missing a few tools (Read pedals ....euhhhh)
Guilted to woodshed ftw!!!
The Neunaber wet is crazy good sounding with a fretless btw
- Mar 8, 2011
- 12,232
- 51,187
- Disclosures
- Authorized greenboy designs builder/Owner of BNA Audio
Nice! Woodsheding can’t be a bad thing
A friend reminded me recently that I left a fretless at his house years ago. I should retrieve that at some point!
I have a regular practice routine but now I'm doing some "overtime".Nice! Woodsheding can’t be a bad thing
A friend reminded me recently that I left a fretless at his house years ago. I should retrieve that at some point!
Also we hit the studio at the start of October with my band, so keeping things oiled up and ready to go.
Compensates for the creative slump atm I guess.
Nothing made me more aware of the shortcomings of my overall bass technique until I started getting very serious about fretless.
Are you doing any chords yet, or are you still working on the basics?
On another note, I recently started playing at a good ol' realbook jazz jam, with a bunch of cats that are way better than I am. It's going okay, it's really challenging me. I've been working on my solo technique over the pandemic and getting somewhere. Getting rid of the thinking part of it has actually helped. I really wanna bring the fretless but my soloing on it needs a TON of work, even more than on the fretted.
Mostly chords, apreggios, voice leading exercices, scales.
Some 3 note chords, but they freaking mangle the left hand to be in tune. Not really emphasizing those.
But yes, a lot of double stops, M3, m3, 5th, b5, m6, M6, m7, M7, 9, b9 and M+m 10ths.
Thank $%&^$# I played 99% upright bass for about 2 years. I still to this day find it harder to be in tune on electric than Upright.
I use a sort of Simandl hybrid technique on fretless. (last fretless I owned before getting this one was way back in like 1999)
not that anyone asked (so ignore if it’s too pedantic)
ime, perfect 4ths, 5ths and 8ves are the hardest to get to *sound* in tune because of the strength of the overtones of each note (they’re more likely to clash). you fudge the others a bit more.
also, i think trying to use barre chord style stuff is a losing battle—partially for the reason given above and partially because of those hand positions.
my usual mo is to forego use of the 5th in a chord in a close position (especially low). partially because of the above and because it’s often the least interesting part of the chord (b5/#4 are more interesting/important, imo). so i use a lot of 3rds, 6ths, 7ths, 9ths, 11ths. however, a lot of the voicings i favor will have a perfect 5th buried in the upper voices (1-6-10; 1-7-#11).
and (gawd this is long) i think it’s more interesting to break things up into two snd three notes and rhythmically. gives more space and movement. (and you can leave out the root.)
imo, practicing fretless everyday is more important than fretted (if you have to choose) and it will help your fretted playing.
btw, if you’re playing pizz, and upright is easier to “play in tune” because you hear fewer overtones snd harmonics than you would in electric. bring out the bow and that goes away fast.
oh yeah, practicing fretless with a pick can also make intonation more noticeable.
imo, ymmv, etc.
ime, perfect 4ths, 5ths and 8ves are the hardest to get to *sound* in tune because of the strength of the overtones of each note (they’re more likely to clash). you fudge the others a bit more.
also, i think trying to use barre chord style stuff is a losing battle—partially for the reason given above and partially because of those hand positions.
my usual mo is to forego use of the 5th in a chord in a close position (especially low). partially because of the above and because it’s often the least interesting part of the chord (b5/#4 are more interesting/important, imo). so i use a lot of 3rds, 6ths, 7ths, 9ths, 11ths. however, a lot of the voicings i favor will have a perfect 5th buried in the upper voices (1-6-10; 1-7-#11).
and (gawd this is long) i think it’s more interesting to break things up into two snd three notes and rhythmically. gives more space and movement. (and you can leave out the root.)
imo, practicing fretless everyday is more important than fretted (if you have to choose) and it will help your fretted playing.
btw, if you’re playing pizz, and upright is easier to “play in tune” because you hear fewer overtones snd harmonics than you would in electric. bring out the bow and that goes away fast.
oh yeah, practicing fretless with a pick can also make intonation more noticeable.
imo, ymmv, etc.
The bow is pure evil I tell ya!!!!! The ultimate « make you suck instantly tool!!!!!
100% agreed on chords on fretless (mangles the left hand fingers.) and omit 5th when voicing chords.
I found major 3rds tricky because my ear wanted to cheat into just intonation instead of equal temperament. I mostly play solo so it is not like I’m out of tune with anyone.
so you means 3rds on fretted or fretless?
on fretted it is what it is. on fretless, it’s a lot of work, but it can be where you want it to be.
