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ambient

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Everything posted by ambient

  1. [quote name='lowdown' timestamp='1397145457' post='2421162'] No experience with the Hollywood library, but from what I have heard, it does sound convincing. I went for Symphobia 1 and Symphobia 2 (there was a big discount a couple of years back). This particular library is great for the big Symphonic/Cinematic sound. Legato is also very well catered for. There is also Plenty of very useful keystroke articulations, and some very nice section layerings. Plus a selection of bonus material, like clusters, risers, rips, big hits and extended slurs etc. However I have just started investing in The Spitfire Audio libraries, mixing and matching sections. Well worth checking out and seems to be popping up on a lot of TV drama/Games and small film. The sounds are more intimate than the other major libraries (although they have now released Mural, which is Aimed at more Symphonic textures). Check out their website for demo scores (impressive). I am not sure what the score is with educational discount. [url="https://www.spitfireaudio.com"]https://www.spitfireaudio.com[/url] [url="https://www.spitfireaudio.com/browse-all-2d"]https://www.spitfire...m/browse-all-2d[/url] [/quote] Hi, That's a brilliant thanks . They do a 30% educational discount too which is cool, so all 3 are pretty much in the same price range. I can't listen to the demos at the moment though, just on the train using the free wifi, and youtube is blocked . I'll have a listen when I get home.
  2. [quote name='PeteFromCorby' timestamp='1397139993' post='2421083'] O K I can see your not convinced about the usefulness of this. O k the notes up and down each string is the chromatic scale and this is easy for anybody to learn. The notes going across strings are not so easy because the have an apparent hap-hazard order. I am just pointing out that they do have an order and that is the circle of fifths. The circle of fifths is a very useful tool for all musicians except drummers. It has all the key signatures and the order of sharps and flats. Now if you don't have a circle of fifths handy all you have to do is look at your own bass [/quote] My post #12 . It's not hard, they're just the notes of the alphabet from A to G with some sharps and flats. My 2 1/2 year old nephew probably knows hundreds of words. People can't be a###ed to learn the notes, same as scales, same as reading music and harmony and theory. Each to their own .
  3. I'm after better orchestral sounds than Logic Pro X can provide. This looks a good deal, strings and brass, plus several other interesting looking goodies. I'm a music student too, so I qualify for extra discount. Anyone use this, and how does it sound ? Would something else be better, maybe 8Dio or ProjectSam Sythobia ? The 8Dio strings sound amazing, and are about the same price, I should get a discount from them too. That's only strings though, no brass or woodwinds. My set-up is just a MacBook Pro, don't know if that makes any difference.
  4. Just remember these 2 notes - F and G. F for the flats, G for the sharps. Go up in 4ths from each starting note for the flats, F has 1 flat, Bb has 3, Eb has 3 etc. For the sharps go up in 5th, G has 1, D has 2, A has 3, E has 4 etc.
  5. [quote name='BigRedX' timestamp='1396883388' post='2418348'] But knowing what notes sound best with which chord depends a lot on subjective taste and the style of music you are playing. I really can't stand 3rds - they always sound "out of tune to me) and usually replace them with 9ths or 4ths depending on what has come before and what comes next. However these days I rarely think in terms of chords and what notes work over them, but instead listen to the "tune" of the what the rest of the instruments and vocals are doing and fit the bass around and over that. [/quote] Exactly. I just had to compose a solo over a jazz tune. I did look at the chart too much, I just wrote wanted sounded 'right' from one bar to the next. I then had to analyse what I'd written.
  6. If you're playing over a major chord or riff, you know how the 6th sounds played after the root, you also know that you could maybe play off the 6th, and play its 3rd, (the relative minor). Knowing what you can play, and how they sound enhances what you play, and means you don't necessarily have to play a whole load of notes searching for the one.
  7. ambient

    SOld.

    [attachment=159656:Photo on 07-04-2014 at 15.53 #2.jpg] Another slightly better photo.
  8. ambient

    SOld.

    [attachment=159655:Photo on 07-04-2014 at 15.49.jpg] Here's a photo to show the bass now. It's exactly the same as the previous photos, just that there's a stacked volume/balance in place of the one volume there before.
  9. [quote name='discreet' timestamp='1396880148' post='2418284'] In my originals band we largely write new material by recording jams - so my basslines tend to start off way too busy, then it's a case of reducing them down to their essence. So if I knew all my scales backwards and forwards I'd be tempted to whizz around the fretboard more than I do already, which is not good - [i]in the context of what I'm doing in this particular band[/i]. I recognise the value of music theory of course and covered it at school, but that was a long time ago... If people want to practise their scales then I say let 'em do it - I don't mind at all. [/quote] Why would you be tempted to whizz around the fretboard ? You'd surely stiff play contextual, but maybe know that by using this note instead of that one (or 2), you'd get a more interesting sound ? Music theory/harmony etc is kind of like cooking. Things maybe are a bit bland with just the basic ingredients, but add a pinch of salt, maybe some pepper and a clove or 2 of garlic and things get a bit interesting. Knowing what you can maybe use here or there, just takes the guess work out of it. It certainly does not stifle your creativity, if anything it enhances it.
  10. ambient

    SOld.

    [center]Bump.[/center] [center]Other trades welcome (plus cash to me), as long as they're something I can sell quickly.[/center] [center] [/center]
  11. ambient

    SOld.

    [center]Bump.[/center] [center]Make me reasonable offer, or trades (plus cash to me) welcome for something I can sell on.[/center] [center] [/center]
  12. [quote name='RhysP' timestamp='1396866838' post='2418053'] I know f*** all about theory but, as far as I know, these are wrong. they certainly don't feel right counting them off the way you've written them. You don't count a waltz as "1 and 2 and 3 and", you count it [size=5]1[/size]23 [size=5]1[/size]23 [size=5]1[/size]23 etc. The same goes for the others you've put unnecessary "ands" in. I'm sure somebody will tell me otherwise. [/quote] Waltz 3/4 you would count 1, 2, 3, there are 3 beats per bar, what you're counting is a compound 12/8 where the subdivision of each beat is felt as a 3. The guy is counting the off beat, useful I guess if it's a slow tempo.
  13. I think I'm gonna have to be checking out more of her stuff . One of my first bass tutors gave me a copy of Hejira ages which I've still got and think is amazing. We watched a live film last year in a lecture, but apart from the 'Both sides now' album, that's my only exposure to her.
  14. I love the orchestral album she made a few years ago - [url="https://www.youtube.com/watch?v=tKQSlH-LLTQ"]https://www.youtube.com/watch?v=tKQSlH-LLTQ[/url] Great orchestration by Vince Mendoza.
  15. [quote name='BigRedX' timestamp='1396799105' post='2417433'] I didn't realise that my Overwater was a 36" scale until the first time I changed the strings and wondered why the standard long scale set I'd bought didn't fit properly and the silks on the machine head end of the string protruded past the nut and into the fingerboard area. If those strings hadn't had silks it might have taken me even longer to find out! [/quote] I've never played a 36" scale bass, there are a couple of really nice fretless 6's for sale that are a 36". I don't notice 34" to 35", wonder if I'd notice 35" to 36" ?
  16. [quote name='Len_derby' timestamp='1396794640' post='2417389'] You're right. Because of the economics involved in maintaining one, and the relative decline in popularity of classical music a lot of people haven't had the chance to experience the sheer power of a live orchestra. Neither of my daughters, who are 20 and both musicians, have seen a full orchestra live. I've been trying to remedy that. Easter is a good time as there are quite a few seasonal Oratorios and Masses put on in most towns and cities. Feel the heft. [/quote] If they're students or under 26 then they can get to see the London Philharmonic for just a few pounds. I've been a couple of times and only paid about a fiver each time . [url="http://www.lpo.org.uk/whats-on/student-and-under-26-tickets.html"]http://www.lpo.org.uk/whats-on/student-and-under-26-tickets.html[/url]
  17. And what brilliant orchestration. Probably my favourite track from Peter Gabriel's 'Up' album, and this is an amazing version and demonstrates the power that is present in a classical orchestra. Reminds me why I love music and being a musician so much. [url="http://www.youtube.com/watch?v=nPT0T2FWbq8"]http://www.youtube.com/watch?v=nPT0T2FWbq8 [/url]
  18. I understand that the live music market is where money is made nowadays, hence why record companies recoup advances from live performance as well as record sales (360 deals). Also you're unlikely to get any kind of record company attention unless there's a 'buzz' around you. Ok that can come from internet and band camp etc, but more likely a following from live gigs.
  19. [quote name='ken_white' timestamp='1396724140' post='2416829'] I know some scales.. What does everyone learn instead of scales? Are a lot of people in cover bands spending lots of time working to tab? [/quote] I suspect people spend hours searching the internet for incorrect TAB. Then spend ages correcting the incorrect TAB whilst listening repeatedly to the track on youtube or something. Instead of spending a bit of time learning basics like the notes on the fretboard and a little bit of basic theory which would actually make the whole thing so much easier. That's rock and roll I guess, and it's really a well known fact that musical knowledge stifles creativity .
  20. [quote name='BassBus' timestamp='1396720371' post='2416784'] When a player only wants to play in a covers band which means learning someone else's lines parrot fashion, why spend hours learning endless modes and diminished scales when he/she will never use them. If that player then chooses to move into a genre such as jazz then those skills will be useful but not before.So why waist time. [/quote] Might be useful if said function band get a new singer and have to transpose the songs in their repertoire to a new key, or do songs that need key changes. It's not always just a case of moving the lick that you've learned like a parrot down a fret, or up a fret. But might you also say that learning most other things in life are a waste of time, why learn anything unless you're specifically definitely going to use it ? My question was actually rhetorical, how [i]does anyone [/i]know what they're [i]not[/i] going to need to know at some point ?
  21. [quote name='BassBus' timestamp='1396558982' post='2415187'] Even Jeff Berlin doesn't recommend learning things you will never need. [/quote] How does he know what he'll never need ?
  22. ambient

    SOld.

    [center]Bump.[/center] [center]Reiterate my trades - fretless Modulus Q6, Zon 6, Status 6.[/center] [center]or [/center] [center]Markbass 1x12 combo or F500 plus cash to me[/center] [center] [/center]
  23. Some nice stuff here about MXR pedals. [url="https://www.youtube.com/watch?v=kJe08UZP__g"]https://www.youtube.com/watch?v=kJe08UZP__g[/url] Steve uses the bass chorus pedal.
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