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caitlin

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Everything posted by caitlin

  1. Sigh, I dropped my teacher because the situation wasn't working out too great. Dunno what to do now.

    1. Kevsy71

      Kevsy71

      Sorry to hear that...may ne someone here who can help: https://www.basschat.co.uk/forum/26-tutors-available/

      Good luck!

  2. It's gradually coming together. I need to glue the top down, I think I want to glue rather than screw because screws show a bit too much. Just need to get the 5U of rack suspended under the mixer and it's dooooooone. (for now)
  3. There's a lot of interest in hybrid time signatures at present fashions, eh?
  4. half tempo to full speed is a nice gimmick though, loads of songs do that, right? some of greenday maybe?
  5. There's tempo and there's time. There's pocket and there's feel. There's pace and there's energy. Everyone needs to have internalised time and the only way to truly get that down is to play with metronomes, that's everyone's job. Time is what no-one plays, you can be up the beat, down the beat. The best bands share that common pulse implicitly and perhaps often un-spokenly. It MIGHT line up with the little blinky light on the metronome or it might breathe a little, but if it's not shared then each player pulls in their own direction till it falls apart. Having the drums sitting perfectly on the beat and the bass pushing just slightly, not sped up but early on the beat can give everything a driving energy but with the pace and the beat really solid, right? That's not the bassist trying to speed up, the drummer will never follow, that's the tension built around a shared idea of the silent pulse. I can reliably hit whole notes at 30 bpm without barely thinking about it. I have a metronome with an optional blinkenlight and a little vibraty pad that one can feel in the dark to get a tempo from, and a footswitch to flip to the next programmed tempo.
  6. Yeh, they're really sharp looking in that colour scheme in that room. I'm not sure your stereo image is going to work too well with those shelf speakers mind
  7. Yes but it wouldn't fit, so there's that. I expect you've possibly not experienced living your life in a small room with two drumkits in it and their damnably inconvenient dimensioness
  8. So this is a complete threadjack, perhaps I should make my own thread to put this rubbish in, but since it IS pictures of bits of music room: I'm building a tiny desk for my logic pro laptop and my (stupidly large for my needs) mixer, for various reasons of tiny room it's being built to slip OVER a stored bassdrum and under a piano so is just a frame I'm going to cover in plywood with a hole cut out to let the mixer sit in the frame on some metal legs I can get from B&Q for a fiver each. I'm going to sneak 4 or 5 units of rack between the bottom of the desk and the top of the bass drum, I hope. Get to the point, caitlin. Just in case (although I have no need for it yet) I have a patch bay and wonder where to put it. it can either go down near thigh height to be fiddly when i'm playing the piano, or it can go here in the way of the mixy slidey thingys or here all fiddly behind the wiring that goes to the soundcard inputs (and curiously blue, like it was underwater): Do you kids have any experience of this kind of rubbish or should I drag myself off to the gearslutz forum to get laughed at for not having any decent microphones?
  9. What's up with the bass on KT Tunstall's one day from her acoustic extravaganza? Sounds great, but what a snarl?

    1. Show previous comments  3 more
    2. gjones

      gjones

      It was recorded in a weekend, mostly live, up in Skye.

      It sounds very organic and spontaneous.

      It consists of the older stuff that she'd written before she got her record contract.

      I think it's her best album.

    3. caitlin

      caitlin

      I think it grooves so hard it's practically sweaty. Her band is soooooo much better live than recorded though.

    4. JapanAxe

      JapanAxe

      Mrs Axe's favourite KTT album. Yep, that is properly snarly. Maybe it was close mic'ed?

  10. i was looking at cort also. staying 4 for a while though yet.
  11. Not soul seller but promised land, I've had a wee go at pointing my ears at it and fumbling at it with my fingers. I wonder if anyone would be willing to spare the time to see how far off I am with this score (possibly with tab): http://cat.scot/promised_land_tab.pdf
  12. A pup isn't much more than a coil of wire around a metal core, they fail the same way any winding does, either open or short. If the wire cracks anywhere along the length, electricity is gone from it. If it shorts *somewhere* then performance will suffer in weird ways. You can of course rewind a pickup if you can be arsed and can count to quite high numbers or have a stepper motor you can employ
  13. I am glad of this thread because I realise I am working exclusively on dot to finger placement and I should be doing some interval audio work or sutin, certainly attempting to explore the difference between a minor chord and major one and probably a bit of flat 5 and add7 add9 because my ears are crap. What resources are there for this? She asks like a tragic noob, LOCK THE THREAD NOW
  14. Isn't a pirouetting sousaphone doing a bit of a leslie kind of effect though?
  15. Dunno what's go into me, but with the help of my talented assistant and on the ongoing theme of 'tidyness' in the creative (HAH, I have never created music) spaces we got this far with some solid storage today. Just some sanding to do and some plywood to go on to the framing and stuff won't fall through. The wall behind is knackered from where someone literally *smashed* a wardrobe system into it, something need to be done to pretty *that* up, but short of ripping out the drywall and redoing it, I feel. My vibe is 'rehearsal studio drum kit storage', which is my excuse for perfunctoryness and ugliness.
  16. I think there's a difference between reading music and sight reading in that it's the difference between reading a book 'in your head' and 'reading aloud' When adding the performative aspect there's two things you've got to do. I can rapidly 'work out' a phrase and then learn it, then next time i look at that phrase i 'remember' it and play it hardly reading it at all. That shortcut is what's stopping me sight reading because every time I reach a large pitch gap or 'tricky bit' I panic. I'm working really hard at the moment at getting direct recall between the notes on the stave and where my fingers want to go for that note, otherwise I've got a two step process, figure out what the note is and then work out where it is on the bass. basically this makes sure that if I ever change tunings I'm ruined
  17. haha, reaching for Louis to back any of this up is uh, i... er. hmm. I do find a lot of 80s and 90s rock hard to listen to now with my old and wisened feminist ears, or maybe it's just the tinnitus?
  18. INVENT THIS NOTATION. I have always maintained that sound engineer is intrinsic part of band for BEST effect and whatnot... what if there was a way to help whoever's riding the faders keep up with the changes. Surely theatre has this covered for scene changes and so forth? annotated scripts. Music is so haphazard, too many times choosing the set list backstage.
  19. I'm covered in lemon oil, I think this fretboard needs sanding though, it gross!

    1. Show previous comments  1 more
    2. caitlin

      caitlin

      That's very kind of you to say.

    3. SpondonBassed

      SpondonBassed

      Are you sure that sanding is necessary?  You might just be looking at congealed gunk.  The lemon oil should soften a lot of this for you with repeated applications, a soaking in period and gentle application of a suitable scraper.

    4. JapanAxe

      JapanAxe

      An old credit card is good for scraping the fingerboard without risk of marring the wood.

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