Westenra
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Posts posted by Westenra
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On to the next hurdle then in my theory journey, quite simply what do you guys use to count triplets? I've tried "one - o - let" and "one - and - a" and they work fine when counting a full triplet but when it comes to rests in the triplet it all goes out of the window. So would like to know what other alternatives there are for counting them, or any tips?
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On 26/06/2018 at 20:37, Quatschmacher said:
I just played a CS in a shop for an hour. It is 8 voice poly or mono which is cool.
It’s a shame about how you feel about the Nord as it really sounds right up your street. From reading around, even the electro 4 has the sample synth module. There’s a used one on gumtree for £800.
Edit - the electro 3 was the first one in this line to include the sample synth. You could probably pick up a 61 key version of that pretty cheaply.
A 61 key 4D went for £571.
If I had the time commitment and space I'd buy a Nord and that would be it. I'm not ruling them out yet as I would prefer a slightly cheaper keys but if that proves a failure I'd bite them bullet and go for it. However if I do see one for under £600 that would seal the deal for me to be honest...
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On 25/06/2018 at 10:48, Quatschmacher said:
If you have a fast computer there are some really excellent virtual instruments out there from the likes of Synthogy (excellent acoustic pianos which are better than any hardware pianos I’ve played) and Rhodes/Wurlitzer/Clavinet from the likes of Scarbee, Sonic Couture and Keyscape.
Actually, if you have an iPad or iPhone I would strongly suggest you get the Moog Minimoog D app (£15). There’s also a Korg ARP Odyssey app for £29. These can be played with any MIDI controller and sound fantastic.
Sadly my laptop is about 5 years old and while good I doubt it can keep up with today's CPU hogging software. I'd also prefer to have a standalone instrument that I can just switch on and go without having to involve my laptop.
On 25/06/2018 at 10:57, BassTractor said:To me, it's not quite clear what your needs are, but this is what I did myself when playing jazz live: I had a good MIDI keyboard and let its stream of control data go to a polyphonic synth module as well as to a piano module that incorporated both acoustic and electric piano models. Doing that, I could recall pre-programmed patches from those modules quickly, and the modules' volume sliders were my mixer. Sometimes I'd have an additional monophonic synth for specific solo and bass sounds.
You mention pianos. Those can be had from digital pianos of course, but also from samplers, workstations and so-called "keyboards" (the all-in-one machines with many built-in sounds as well as auto-accompaniment and rhythm boxes)
You mention pads. Those traditionally come from polyphonic synths, but can be had from samplers, workstations and "keyboards" too.
The Odyssey-like solo voices as found in Weather Report can be had from an Odyssey of course, but also from many polyphonic machines like samplers and workstation as well as some "keyboards". You'd need to think through which MIDI keyboard you are gonna use for the Odyssey then, or buy an Odyssey with built-in keyboard. Are those solo voices going to be played standing alone, or are you gonna have pads or pianos at the same time? This is an important question for your way forward.
Also: do you need patch storage in order to quickly change sounds? The Odyssey has none, but its iPad version ODDYSEi does. Plus that one's polyphonic, which is some cases can be nice to have if you know what you're doing - i.e. you probably don't want the fattest solo voice in a whopping eight-voice polyphonic setting
I do like the future proofness of having a master MIDI keyboard and just buying modules to fit the sounds I'm after but that can start adding up in £ and space. An almost all in one solution would be ideal like you said with workstations, I'll take a look into them thanks. Storage would be ideal aye, but also just preprogrammed sides would be fine as I'm not too interested in moulding my sound in the traditional analogue synth way.
On 25/06/2018 at 10:43, Quatschmacher said:The Yamaha CP sounds great for what it is but if I remember rightly it doesn’t have an acoustic piano sound on it. It is also mini keys and only 3 octaves. There are a lot of two-handed voices which won’t be possible on this without hooking up to a bigger keyboard via midi, which on this is via a proprietary cable.
Actually, if you’re interested in this range, the Yamaha Reface CS is quite a nice synth; digital and just one oscillator but really easy to use and capable of some nice sounds.
The ARP Odyssey module is good. Quite a large format though and probably wouldn’t sit atop a slim keyboard very well.
Worth having a look at the Nord electro, which does acoustic, electric and organs and I think the sample synths too now (need to check). They come in shorter keyboard lengths.
The Roland SE-02 is a tiny Moog-like 3-oscillator rack that will easily sit on top of the Nord and has presets as well as panel control. The knobs are a bit fiddly as they are tiny but it sounds brilliant.
The CP actually has a hidden sound in it which if I recall correctly is an actual acoustic piano or similar sound. Mini keys aren't much of a deal breaker, neither are the octaves as I just want a keyboard to play some ideas on and keep it as a hobby. Do you have any experience with the CS then? I've been watching comparison videos and the DX looks like a good middle ground. While money isn't too much of an issue I will find it hard to justify the £ for a Nord, even second hand as like I said this is just a hobby and bass will always primarily be my instrument of choice.
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3 hours ago, Quatschmacher said:
Actually, I’ve just re-read and you say you are looking for piano sounds too. Do you mean acoustic piano and Rhodes:Wurlitzer/Clavinet too? If so, something like the Nord Piano (currently on its 4th iteration) might suit; you get a range of electric and acoustic pianos and it has a “sample synth” which will play samples of many, many great synths. This is not the same as having a proper synth where you can tweak every parameter but there are some really good sounds in there.
That's the sounds I'm after! Some one on another forum mentioned the Yamaha CP and I think it's a winner. Sounds good, right size and price, and then for the synth side just get the arp odyssey module, does that sound feasible?
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Looking to add some keys/synths to my repertoire. I'd want to recreate some nice piano sounds and then some pads and I've came across the Nord Lead 4 which seems to tick a lot of boxes. Question is though what else is out there that will fit the bill, the new Korg Prologue or the Korg Arp Odyssey maybe, I like the look of the Behringer Deepmind 6 too.. The one specification I have is that it is under 1 meter wide as space is limited. Kind of sounds I'd want to recreate is those found in Weather Report, Herbie Hancock, Tower of Power, and if possible John Carpenter..
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9 hours ago, dlloyd said:
Context is everything.
What sort of music are you playing? Getting freaky with chord extensions and alterations may be great in some styles or they might get you fired.
The bass has a fairly well defined role in most popular music. A major part of that is to outline the progression of the harmony. Thinking "jazz" (which is appropriate given you're talking about extended chords), the keyboard player or guitarist will be providing the rest of the harmony. They're often reliant on the bass outlining the basic triad, certainly on the strong beats of the bar, and use voicings that don't necessarily include the root. Stray too far and the harmony is lost. If you're talking about passing notes, it's less of an issue.
The best place to go nuts, if you have to, is on the dominant chord in a V-I progression. The pull towards the dominant to the tonic comes from the dissonance of the tritone between the 3 and b7 of the dominant chord. You can enhance this dissonance by adding further extensions... 9th, 11th (sometimes) and 13th
Because the tritone is symmetrical, you can invert it so the 3 becomes the b7 (and vice-versa) of another dominant chord a tritone away... the tritone substitution. D7 becomes Ab7 but retains the same function. In effect it becomes a D7b5b9. Use Ab9 and you add the #5 of D7. Add the 13 of Ab and you get the #9 of D7.
It's easy to go wrong with this, so use it sparingly... it tends to work better in minor ii-V-i progressions.
The other place to use interesting colouration is in modal music. If you're playing a lydian piece, you'll be outlining a maj7 chord, but the #11 will be perfectly acceptable.
In country and western, stick to root & five.
The first half of this makes a lot of sense thank you, the second half is a bit beyond what I currently know but hopefully this will change in the near future.
Thanks for the replies guys, even the sarcastic ones
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Great little amps for smaller gigs or just jamming at home with the addition of the headphone output and AUX input. So small they can fit in a gear bag and they have an inbuilt tuner and effects, so perfect for those one amp solutions. Included in the sale is the footswitch, speakon cable and a cable for the footswitch. Only selling due to moving on to something new. Condition wise it is in great shape, no dents or scratches and comes with the original box too.
Full description - https://www.andertons.co.uk/bass-dept/bass-amps/bass-amp-heads/solid-state-bass-amp-heads/tc-electronic-bh250-compact-bass-head
Postage or collection from SW1
Feedback - https://www.basschat.co.uk/topic/296670-westenras-feedback/
No trades
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Yamaha BB424x, heard good things online and when I went to pick it up it felt like it was made for my hands. That P sound really needs to be heard to be believed.
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27 minutes ago, ambient said:
You can play any note from the scale (and outside) really. It depends entirely on how you want it to sound.
Look at the transcribed line I've attached for instance. There's a lot of root notes, also some chromaticism, 4ths, 6ths. Bar 17 for example the chord is a BbM7. The line starts on the root note Bb, the next note is a G which is the major 6th, the next is an F the 5th, back to the G then an A which is the 7th.
If we can play any note then why are there variations in the chord names of when to play the 7th and above extensions? Wouldn't Cmaj cover all the Cmaj7, Cmaj9, etc variations? Or are they more so for the keys/guitar? I'm probably thinking too much into this!
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I know there's no solid "rules" in music and it all depends on the feel of the song, etc, but if the chord doesn't list it, can you play more than the triad or pentatonic scale?
Example if I come across a C major chord, should I just play the triad and pentatonic, or could I slip in a 7th there? What if I wanted to add some colour with a #11th, would I be asked to stay in the realm of the chord or would it be encouraged?
Hopefully that makes it clear...
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Sold...(finally)...
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Selling the ultralite tuners...?
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6 minutes ago, JohnDaBass said:
+1 For the Fender Rumble v3 head with either a BF One10 or Two10 if space allows.
Ha already got a BF One10 so it looks like I'm on the right track!
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11 hours ago, discreet said:
Is a 'closet head' someone who likes to conceal their sexual proclivities? I'm sorry, but it had to be said.
Anyway, another vote here for the Rumble. My V3 Combo makes a nice warm thumpy, punchy noise and I'm assuming the V3 head does, too.
I guess I'll give the Rumble head a go, really liked the combo but had to sell it due to space sadly.
Cheers mateys
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Price drop to £350
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Got that sense of nostalgia and I really miss my Ampeg b100r but I certainly don't miss the weight. Is there any heads out there which come close to that sound? Better yet if they had a headphone/aux too
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15 hours ago, jezzaboy said:
Just to add, even though she is a bit on the heavy side, with a decent strap I have never noticed the weight.
Now £400 collected. Can`t say fairer than that.
Very good price IMO, surprised this is still here too.
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Anti-Flag has some very good bass lines that will test your chops!
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Usual YT rumbling led me to these guys and I dig it, jazz bass with chromes through an B15 - bliss!
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Open to offers...
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Mid week bump
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First time I saw a bass VI I immediately knew I had to have one, but with the Squier being too expensive I settled on the Eastwood version. Mainly just had it in odd tunings and played with a capo, with a lot of open strings. It was pretty fun for a while but like others have said the string spacing got to me in the end and I went back to normal 4 string basses
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Triplets, how do you count them?
in Theory and Technique
Posted
Cheers for the link mate, found a site where someone has uploaded scanned in pages to it, looks good!