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dodge_bass

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About dodge_bass

  • Birthday 11/09/1979

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    Newcastle upon Tyne

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  1. Interesting post though I think entirely subjective I’m afraid... How do you know they’re not losing themselves in the music? Is there a single way that one should do this? Perhaps you don’t really like the music that they’re playing and therefore aren’t able to engage with it? Different styles / genres come with different approaches to performance and musical approach - obvious signs of ‘losing it’ might be head-banging, jumping around etc but that isn’t always appropriate / relevant. Perhaps by focusing, being in the moment playing complex stuff is another approach to ‘losing yourself’, just not one that works for you and is less obviously sign posted to the audience? Let me turn it around - I’ve done loads of gigs where I’ve looked out to see arms folded, grumpy faces and not much vibe from audience members. Yet often these individuals are the ones who come up after the gig, buy loads of merch and rave about it. They certainly didn’t ‘lose themselves’ in the music they way I wanted to but it worked for them.... So it’s all personal and subjective. Find out what works for you and go listen / watch that and don’t worry to much about what other folks are doing!
  2. Yeah the structuring of it is fine - very readable - 4 bars per line (bar the 5 bar one which is fine) and the DS / al coda works fine too. I'm a big fan of labelling the verse / chorus / bridge etc as well as that helps as well with navigating especially if you've not seen the chart before. I don't know the track so can't say more but layout is good - WELL DONE!
  3. Absolutely - the more you do the quicker it gets in every aspect. It will make a HUGE difference to your overall musicianship as well the more you do it. Prior to having children I did tonnes of it (check my website for all of them(!) - www.dodgebass.co.uk) and it really made such a difference to my playing and overall understanding of musicianship. Enjoy!
  4. It's a bit cheeky because of the Am that's in there - means it's not entirely diatonic to the key of D.. Anyway....another approach is to think minor pentatonics - in this case you''ll find Em pent fits very well over the Am and the G (so you don't need to change scale there) and F#minor pent fits well over the D and the A - so actually you can just move between two scales...rather than trying to change scale per chord (that's hard work) you can reduce the number of scales you need.... There's loads of different approaches to improvising - you'll need to try and find a 'foot in the door' that you can start off with and then you can take it from there. Good luck.
  5. Yes - this sounds excellent (in this context that's EXACTLY what I would have done). I'm a BIG fan of sensible numbers of bars per line (4 / 8 etc - depending upon song structure / section length etc) as well as that makes it really easy to navigate and follow. Kind of gives a 'physical visual structure' that relates to the musical layout as well. And yes @jrixn1 that's exactly what I was getting at. Again I would go for numbering bars 4 and 8 just because so much modern music is structured around 4 / 8 bar / 12 / 16 bar sections so it kind of makes sense to me to keep it logical and help the reader as much as possible.
  6. Whatever is simplest for the reader - having to count the same single bar 10 times might be ok or might be easier to get lost? Maybe write 5 bars and then put the repeat round it - that way it's one repeat so unlikely to lose the player. OR (not using repeats) If it's the same figure and you do write ten bars of it you can put little numbers in brackets above the bar (say at bar 4 and bar eight) to help the player know how far they've got - its often easy to get lost if you're reading repeated bars of the same figure... Bottom line - no specific rule about repeats but like with lots of notation stuff it's good to think about how a player, who could be sight-reading it live on the gig for the first ever time, would be best supported. Again not repeats but I've been caught out before trying to navigate horrible chart structures (double DS's, strange repeats etc) when I've never sene the chart before and am depping....so annoying as you end of looking stupid when it's not your fault. Hope that sort of helps?
  7. I'm a big fan of the Groove Regulator (first one - there was a GR2 also I think?). I think each subsequent model added more knobs and options but for my money it got harder to dial in a sound. Thats just my experience. I run mine mainly with an OC2 before it for squelchy synth sounds and they play great together.
  8. What a legend @bassace After some chat online on one of his for sale threads he kindly (and for free including covering P&P!) sent me a custom clip he'd made for fitting his mic to his double bass. He didn't mind me slightly hijacking his for sale thread to ask about the clip and true to his word sent the next day. Fitted it and did some recording and it's brill. AMAZING! It just goes to show again what a GREAT place bass chat is and what lovely folks you all are. Thanks to all the mods for keeping this place running and to everyone for being down to earth decent chaps! Bass love to you all!
  9. What a legend BASSACE is! After some chat online on one of his for sale threads he kindly (and for free including covering P&P!) sent me a custom clip he'd made for fitting his mic to his double bass. He didn't mind me slightly hijacking his for sale thread to ask about the clip and true to his word sent the next day. TOP TOP CHAP! Thanks!
  10. I really like the Empress compressor - both for it's wet/dry mix but also the visual monitoring which most don't offer. If you're using light compression it's good to be able to see just what's going on as it's not always easy to hear exactly what is happening. I've got one on both of my boards and I"m really impressed by it. Good luck with choosing, they're are loads of great comps out there and different reasons for choosing each one!
  11. Don't do it down - these mics are great! I love the clip for the bridge - did you make that yourself?
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