Go to shows by any bands playing the style you like, talk to people, make friends, buy gear.
The latter is most of the homework in this thread.
The latter is most of the homework in this thread.
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Stoner/Doom Bassists Thread, Part 90: Maxed Out
- Thread starter Korladis
- Start date
Ugh, so i got to hear close-to-final masters of our long, long overdue demo today - i don't know what the hell happened but they don't sound good. There's a drastic change from what i heard few months ago. Our drummer has been doing the mixing and mastering, and he made some comments to me a few weeks ago about someone not liking the way it was sounding, I didn't think much of it at the time, but there's been such a drastic change in quality that i know it wasn't a mistake. It was sounding pretty Damn respectable before, now it's muddy as poopie. I don't really know what to do about it. It won't go over well if i express my distaste. It's just really shaging disappointing. We have practice recordings that sound better...
Excellent advice.
I need to talk to drummer guy about it, I don't know exactly what happened, but if it's what i think it is he's got to be pissed off too.
You kids and your weed refrences. 
Just say it.
A band is only as good as its drummer in my opinion. Find a drummer that can not only keep time but also jazz things up a little. I find a little jazz goes a long way in stoner/doom. If the drummer is very straight 4/4 all the time then bands can sound too predictable I think.
Just say it.A band is only as good as its drummer in my opinion. Find a drummer that can not only keep time but also jazz things up a little. I find a little jazz goes a long way in stoner/doom. If the drummer is very straight 4/4 all the time then bands can sound too predictable I think.
For the actual recording, if it's all going to be digital anyway, it's easy to do if someone in the band has a DAW program and a decent interface. And yeah, you can just record DI and then send it off to someone else to re-amp (with instructions as to what you're looking for, of course).
In Catapult, our guitarist does the recording, mostly (the vocalist also does some). He's got a good recording setup, so we just record the guitars and bass in his room. I don't agree with some of his mixing decisions, but he's quite competent. All the guitars and the bass (both electric and upright) on the Catapult record were done at his place. Our vocalist and keyboard player went out and they recorded the piano separately, at a college, I think. The drums they recorded at the vocalist's work place, after hours.
I would kinda like to eventually get someone in addition to mix, for fresh ears, you know, but at least we got that for mastering (James Plotkin mastered the album... I don't recall off the top of my head how expensive that was by itself, though).
You're in the right.
The additional people should be paying rent, at the very least.
Three other bands share our rehearsal space. Everyone pays rent. We share a PA, but not other gear (though I was using the cab owned by a dude in Abstracter, I treated it better than they did, heh). I would willingly share my rig with the bassist in Awake the Plague, but that's only because he's an old friend of mine. Sometimes people do recording and one-off type projects there (for instance, AtP's guitarist recorded a small project he was doing with a friend who plays violin there, and I recorded the bass tracks for my cousin's black metal album there, and my friend and I recorded the drums, on his own kit, for his upcoming folk/rock EP in there), but if someone was going to start something that would be regularly occurring, they'd need approval from all the other bands, and would need to start paying rent.
Rent is $37 a month for us. Doesn't matter that Abstracter makes way more money than we do. The rehearsal studio is not a charity.
Exactly. If they're going to be using the place on an ongoing basis, they should be paying rent.
Nice yonic flowers there.Hey y'all !
Just passing by to share the poster for our next gig, I love my little brother's art
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We used my mic for the bass, but otherwise my guitarist and my vocalist own the recording gear they used.
Ah, I see. And yeah, I think the amount the band earns is pretty immaterial, unless someone in one of the bands owns the studio. Who does own the studio? Does that person know about this?
Oh darn. And here I was ready to rush out and buy one.
I'm not a big fan of rack stuff, personally, but yeah... I'm not sure how they planned to sell it for the same price as the AD300B.
The features did seem cool... but I'm not buying a solid state anything for two and a half grand. If I'm spending that much on an amp, it needs to be comparable to a Mesa/Boogie Strategy or something custom from Dunwich or Verellen. What Orange was offering... well, it wasn't.
It's cool when I see a good busker, but I'm totally uninterested in doing it myself. If I was going to, I'd just go without an amp and use my acoustic fretless.
Yeah, the other bands have nicer gear than I do, so I'm not worried. If anything happens to my rig, well... Abstracter's guitarist has way more expensive gear.
There's a band, Howlin Rain, that shares our rehearsal space, that seems to just use it as a storage place for their (very nice) gear. That poopie annoys me to no end.
Sounds like a free/cheap adventure. I don't look to every woman I meet to have either romance or nothing, though, and tend to like the company of women, even ones I'm not seeing romantically or have no interest in, and sso maybe that's where I'm not really seeing the downside to this. Free food, free drinks. Does sound a bit confusing, though. Our society does anything in the realm of sexuality in a really weird, complex, indirect way that really isn't helpful.
I dunno, it depends if they have common interests, I think, or some other connection. I have friends both considerably older and younger than I am, so I guess I don't think about it as much. One of my friends that I hang out with sometimes is, I think, twenty years older than I am, but we have musical tastes, politics, and a love of chilling out and ranting about/making fun of poopie while smoking weed in common, plus playing bass. So I don't think it's that weird. Some of you guys are much older than I am, and I don't think I'd feel that strange drinking a couple beers with most of the people here.
Weirdly enough, one of the guitarists in Catapult is dating a woman nine years his senior, I think.
Free is free, yo. Confusing mind games are confusing, though.
My advice on dealing with them is just to act completely oblivious to the fact that they're even occurring. Pretend to be too thick to notice. If the person is genuinely interested in spending time with you, they'll eventually stop being weird about poopie. Maybe that seems dishonest, but I don't mean do things other than what you'd do anyway. Just don't do things with the whole game in mind. Just do things that you think you should be doing. "The only winning move is not to play" doesn't necessarily mean not seeing the person, just choosing not to play whatever game they're doing, and being sincere and straight-forward about your own actions.
Don't attach any sort of stakes to hanging out, and you won't be disappointed. Just hang out for the purpose of hanging out and having a good time, and if someone else wants to do more than that, it's on them to make clear what they want.
One of the things I liked most about my ex was that she was mostly very direct. More direct than I am, actually. She was the one with the clear head on her shoulders. If she had an opinion on something, she wouldn't be mean about it, but she'd put it pretty straight. No obfuscating with her.
You're right, lots of people aren't used to people being honest, and so aren't themselves, because in some ways, to be honest is to be vulnerable. It's really the best, and easiest route, though.
Are you a competent bassist? If you don't think you are, practicing is the first step. Generally always a good thing to do. When practicing, if anything you're doing hurts your hand/wrist, stop doing it that way. It shouldn't hurt (though sometimes your fingertips will get sore).
After that, go to shows. Meet people. Get a good enough rig to jam with a band. I would learn some Sabbath tunes, since people into stoner doom metal will often know how to play that and it can be a good thing to first jam with people on when you're figuring out if you play well together.
What I tend to like is when drummers actually use their toms in the regular part of the beat, not just for fills. I find that one can get a lot of cool sounds/feels that way, and can keep both a pounding rhythm but also sound really different and interesting.You kids and your weed refrences.
A band is only as good as its drummer in my opinion. Find a drummer that can not only keep time but also jazz things up a little. I find a little jazz goes a long way in stoner/doom. If the drummer is very straight 4/4 all the time then bands can sound too predictable I think.
An another note, I'm finally listening to the new Triptykon album, after getting it a week or so ago. This is my second time in the last couple days listening to it.
I'm not sure if I like it better than the first one yet, or better than Celtic Frost's Monotheist, but I think it's growing on me. It's a very creepy sounding album.
So far I like Triptykon more when they're playing a sluggish, doom metal pace. The fast songs are cool, but they don't have the same power, I feel, as when they're doing some simple but massive sounding riff at a marching tempo or slower. Part of it, too, I think is that Vanja Slajh's bass sound, which is very overdriven, stands out more on the slower material. Like it has more room to breathe, whereas on the faster riffs, it kinda blends into the guitar sound a bit. The massive drum sound I think also works better on the slower songs. "Boleskin House" and "Black Snow" are both stand out tracks. Especially the former, for that disgusting, awesome bass tone. Basically, really great record, but I think that they need to fully admit to themselves that they're pretty much a doom band, because any time they do anything slow and heavy, it sounds shaging awesome.
I hope they tour here soon.
I'm not sure if I like it better than the first one yet, or better than Celtic Frost's Monotheist, but I think it's growing on me. It's a very creepy sounding album.
So far I like Triptykon more when they're playing a sluggish, doom metal pace. The fast songs are cool, but they don't have the same power, I feel, as when they're doing some simple but massive sounding riff at a marching tempo or slower. Part of it, too, I think is that Vanja Slajh's bass sound, which is very overdriven, stands out more on the slower material. Like it has more room to breathe, whereas on the faster riffs, it kinda blends into the guitar sound a bit. The massive drum sound I think also works better on the slower songs. "Boleskin House" and "Black Snow" are both stand out tracks. Especially the former, for that disgusting, awesome bass tone. Basically, really great record, but I think that they need to fully admit to themselves that they're pretty much a doom band, because any time they do anything slow and heavy, it sounds shaging awesome.
I hope they tour here soon.
I've been meaning to check that out, I've been getting back into Tom G's stuff, there's a local celtic frost cover band that's really good and it's got me interested in the rest of his music.
From the songwriting credits, this album appears to be more of a group effort than the last one (which was I think heavily made up of stuff he was originally going to use for Celtic Frost).
I actually like Celtic Frost's Monotheist more than anything they did in the 80s. Triptykon seems like a pretty worthy successor band. Heavy as shag. They really have a presence when they play live, too, or at least they did when I saw them. I actually like Slajh's bass sound more than Ain's.
Opened up the FuzzThrone Deluxe silent auction, see my FB page for details
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I second that Monotheist is better then Celtic Frost's early stuff to me though if you listen to the Triptykon Shatter EP I think the main issue with the 80s era Celtic Frost stuff is the production is so incredibly dated. Like Circle of the Tyrants and Dethroned Emperor sound better on that EP then they do on their respective albums. I'm sure live the old stuff is pretty killer.
The new album is badass definitely an improvement over the first one. I really like the two part guitar solo on the first track too with the weird Middle Eastern riff into the wah-shred it has a real unusual feel to it. I need to listen to it some more been listening to the new Floor album pretty non-stop since it came out.
The new album is badass definitely an improvement over the first one. I really like the two part guitar solo on the first track too with the weird Middle Eastern riff into the wah-shred it has a real unusual feel to it. I need to listen to it some more been listening to the new Floor album pretty non-stop since it came out.
VEGA uploaded a few videos of recording this weekend...this is actually two songs, Machine and Time. Time is about about a dude making a time machine but it goes turribly wrong and it gets him stuck in limbo and he goes mental. Machine is the time machine starting up.
Askrere, you must have gotten more of dads smooth talking genes, I could make a sport of rejection/making a complete fool of myself with the other kind. Its almost entertaining.
Askrere, you must have gotten more of dads smooth talking genes, I could make a sport of rejection/making a complete fool of myself with the other kind. Its almost entertaining.
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Oh definitely. Older Celtic Frost songs I much prefer on live recordings of their last couple years and when Triptykon plays them.
I like how the new album is kind unsettling the entire way through. I'm always off balance listening to it.
