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Ambient/Post-Rock/Textural bass playing thread

#17,201
jbybj said:
Mr Clement has built two basses for me, 4 and 5 string, with Hipshot headless, Ergo body styles. Great guy, great process, awesome basses. The 5 string with Nordstrand Fat Stacks is mighty pungent. The four string with an EMG Musicman, is all snooty and hifi. Super comfortable to play.
Click to expand...
Okay, I spent way too much time on his site, last night. Putting in a quote!
 
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#17,202
It’s Friday and I wasn’t really motivated into going through my usual technical exercises on fretless so I pulled out some old records with lines I havent played in LONG TIME.
Played some of my favs from some old Funkadelic records.

Billy “Bass” Nelson and Cordell "Boogie" are some B@d@ss Motha %$%&*. Criminally underrated.

that is all

/
 
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#17,203
After months of trying to get an endorsement deal with Gibson, this came in today
AA3E8186-07D8-4CFD-93B0-A7B80B45CDD9.jpeg

Nothing fancy, but I’m a caveman and these suit me more than fine :)
 
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#17,207
hieronymous said:
Pelhambient!
Click to expand...

Close! This one is Inverness green, but all three of the new non reverse colors look radically different depending on the light. I like the color of my new bass, but it certainly doesn’t look like the older Inverness basses I’ve seen. Same with their new Pelham Blue
 
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#17,209
hieronymous said:
I had a Pelham Blue Melody Maker bass that had turned green and looked a lot like yours. Is there a story behind your new one?
Click to expand...

Not really, I just wanted one of their 2021 non reverses, so since I’m a Mesa endorser (Gibson recently bought Mesa) I hit em up for and endorsement deal and got this bass :)
 
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#17,210
dukeorock said:
Not really, I just wanted one of their 2021 non reverses, so since I’m a Mesa endorser (Gibson recently bought Mesa) I hit em up for and endorsement deal and got this bass :)
Click to expand...
That's a good backstory! Those new non-reverses look great and I've only heard good things. I'm definitely a Gibson fan, but have only played/owned short-scales (EB-2, Les Paul Triumph, and the Pelham Blue Melody Maker which looked like an EB-0 with a white Fender-ish pickguard). I used to stare at pictures of Pete Way playing his Thunderbirds though and thought they were cool.
 
#17,211
hieronymous said:
That's a good backstory! Those new non-reverses look great and I've only heard good things. I'm definitely a Gibson fan, but have only played/owned short-scales (EB-2, Les Paul Triumph, and the Pelham Blue Melody Maker which looked like an EB-0 with a white Fender-ish pickguard). I used to stare at pictures of Pete Way playing his Thunderbirds though and thought they were cool.
Click to expand...

Pete Way was a great showman. I always liked TBirds but thought they might look too…I dunno, Motley Crue or whatever for my tastes. But Mike Watt’s “Contemplating The Engine Room (‘64 Non Reverse) and Alex Hacke on Einsturzende Neubaten’s “Silence Is Sexy” record (modern reverse TBird) drew me to the sound. I dunno…I really like em :)
 
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#17,213
dukeorock said:
Pete Way was a great showman. I always liked TBirds but thought they might look too…I dunno, Motley Crue or whatever for my tastes. But Mike Watt’s “Contemplating The Engine Room (‘64 Non Reverse) and Alex Hacke on Einsturzende Neubaten’s “Silence Is Sexy” record (modern reverse TBird) drew me to the sound. I dunno…I really like em :)
Click to expand...
Kris Novaselic immediately pops into my brain anytime I see those Gibson type instruments.
 
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#17,214
ugly_bassplayer said:
Kris Novaselic immediately pops into my brain anytime I see those Gibson type instruments.
Click to expand...

Same :)
My very first long scale ‘proper’ bass was a Gibson G3 and I still love those. Owned a couple Grabbers and Rippers as well. I’d love to get another Ripper, but the prices have gone through the roof at this point
 
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#17,218
Hi Everyone,

Nice noises, @ugly_bassplayer -- I confess sometimes I don't know how to listen to this kind of this kind of thing so I just sort of pay attention to textures of distortion.

In the spirit of "I have nobody else to tell about this," here's a Sunday synth update. I am just learning my way around the Norand Mono and am very intrigued.

@dukeorock -- I'm wondering if you've tried or figured out the following:

1. If I've got "record" enabled and I wiggle a knob, it seems like the sequencer taking a snapshot at each step rather than giving me a smooth arc. Is that also your sense? In other words, to get continuous modulations, I have to use the X-Env and X-mod?

I'm also trying to pull a couple of "Elektron" tricks on it and I haven't figured out how.

2. One is the "reload" trick where you make a bunch of settings go crazy and then go back to the original sound. I get that if I put it in live mode, and move off the pattern and move back to it I can return "home." But I can't simply reload the pattern in its original state without moving off it first. And if I reload the project, the sequencer keeps playing but moves me to pattern A1.

3. Is there any thing like "trigless trigs" on this, where I can automate parameters but not play notes? Obviously that's what I think is happening in #1, but I'd like to be able to program it step by step as well.​

I am thinking of hooking it up to my Five12 Vector Sequencer, which has a killer new arpeggiator mode in beta right now. I know the Norand is meant to be played with its sequencer, but sometimes a boy wants to arpeggiate.

I've also been messing around with ID700 and really enjoying that as well, though I confess I don't understand it as fully and the manual isn't as helpful as I'd like for actual sound design--I can f*uck around with it but I can't really figure out how to achieve what I want to achieve. I wonder if I need to go back and read Chowning and Bristow's FM Theory and Applications. I just don't know if that will help me understand modosc's rethinking of a Buchla instrument. Or if this whole exercise is just a gateway drug more complex hardware FM.

I spent a chunk of vacation reading up on sequencing and have decided I've been doing it all wrong. I've also been reading up on Buchla's approaches to instrument design and I think I better understand some of my own frustrations with Eurorack and what to do with them. Speaking of which....

I successfully got my MIDI Fighter Twister to talk with my iPad instruments though AUM. The only bummer is that I had a synth jam with my guitarist last week (drummer couldn't make it) and the touchscreen is a too tiny for live knob-tweaking (and only my thumb is ungloved if I'm also playing the touch guitar), so I'm wondering if I should try and assign a poopie ton of parameters to the MFT or give up and go back to playing modular in the band and just hope I can remember to tweak all the settings I need to tweak in-between songs. The problem with the MFT is no labels, so I've been sticking to one page of 16 knobs.

In touch guitar news, I achieved very limited limb independence for the first time during a lesson on Monday.
 
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#17,220
JES said:
Hi Everyone,

Nice noises, @ugly_bassplayer -- I confess sometimes I don't know how to listen to this kind of this kind of thing so I just sort of pay attention to textures of distortion.

In the spirit of "I have nobody else to tell about this," here's a Sunday synth update. I am just learning my way around the Norand Mono and am very intrigued.

@dukeorock -- I'm wondering if you've tried or figured out the following:

1. If I've got "record" enabled and I wiggle a knob, it seems like the sequencer taking a snapshot at each step rather than giving me a smooth arc. Is that also your sense? In other words, to get continuous modulations, I have to use the X-Env and X-mod?

I'm also trying to pull a couple of "Elektron" tricks on it and I haven't figured out how.

2. One is the "reload" trick where you make a bunch of settings go crazy and then go back to the original sound. I get that if I put it in live mode, and move off the pattern and move back to it I can return "home." But I can't simply reload the pattern in its original state without moving off it first. And if I reload the project, the sequencer keeps playing but moves me to pattern A1.

3. Is there any thing like "trigless trigs" on this, where I can automate parameters but not play notes? Obviously that's what I think is happening in #1, but I'd like to be able to program it step by step as well.​

I am thinking of hooking it up to my Five12 Vector Sequencer, which has a killer new arpeggiator mode in beta right now. I know the Norand is meant to be played with its sequencer, but sometimes a boy wants to arpeggiate.

I've also been messing around with ID700 and really enjoying that as well, though I confess I don't understand it as fully and the manual isn't as helpful as I'd like for actual sound design--I can f*uck around with it but I can't really figure out how to achieve what I want to achieve. I wonder if I need to go back and read Chowning and Bristow's FM Theory and Applications. I just don't know if that will help me understand modosc's rethinking of a Buchla instrument. Or if this whole exercise is just a gateway drug more complex hardware FM.

I spent a chunk of vacation reading up on sequencing and have decided I've been doing it all wrong. I've also been reading up on Buchla's approaches to instrument design and I think I better understand some of my own frustrations with Eurorack and what to do with them. Speaking of which....

I successfully got my MIDI Fighter Twister to talk with my iPad instruments though AUM. The only bummer is that I had a synth jam with my guitarist last week (drummer couldn't make it) and the touchscreen is a too tiny for live knob-tweaking (and only my thumb is ungloved if I'm also playing the touch guitar), so I'm wondering if I should try and assign a poopie ton of parameters to the MFT or give up and go back to playing modular in the band and just hope I can remember to tweak all the settings I need to tweak in-between songs. The problem with the MFT is no labels, so I've been sticking to one page of 16 knobs.

In touch guitar news, I achieved very limited limb independence for the first time during a lesson on Monday.
Click to expand...
There's no "how" to listen IMO.
I just create textures and moods, immerse and enjoy, hate or whatever emotion pops up.

I just have an inner need to create, if it is not fed it consumes me in very unpleasant ways.
It just happens to be this medium that "fits".
Why? I have no idea, I don't question it, I let it happen "organically ".
Maybe another drone synth???? For more colors????


New band album on the way, but mix isn't ready. So I created this one to hold me over.
 
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