Nail Soup

A lot of Jungle D&B is based around the 'Amen break'..... here's a short YT vid on the topic. The man on the rght is the drummer who originally payed it - Gregory Coleman.

I jumped from this thread over to Facebook. Within about 30 seconds this was in my feed

And while we’re at it, are Jungle and D&B the same thing?

So what he's saying is that once a song is liked by one million people then the rest of humanity has to either a) like it too or b) be a snob? Or did I misunderstand the logic?

Would love to have a go on that! My keyboard repertoire is only about 30 secs so won’t be hogging it for long!

The 'standing up' thing was Paul Simenon

I think he was throwing his toys out of the pram about something (something to do with crowd control???)

Basically agree, but somehow Paul Simenon did look cool here :

Great picture, could have inspired a certain old song with as iconic bassline 😉!

Good article. Anyone got any idea why there is some kind of rift between Elvis and Bruce in later years? The interview didn't cover it (although I think their is a part two)

I'm listening to some Beefheart as I am currently reading Drumbo's book about Beefheart and being in the Magic Band. Here's Big Eyed Beans From Venus... great song and relatively accessable.

Phew, thought it was going to be Springsteen for a minute.

If this was some idea she had dreamed up herself, then it might be OK. But I don't think it's something you should influence her towards.

String tension and stuff aside, I think it would be good time for her to learn a new tuning. It's part and parcel of moving between instruments.

Yes, I play 5 string... mainly clawhammer style which really features the 5th 'drone' string. I tend to take the 'embrace the default tuning' approach to other stringed instruments, as I want it to be different from guitar/bass. I'd maybetune to a familiar tuning for practical purposes if I need to for a particular occasion. However whilst banjo does have it's conventional tuning, a lot of pieces are played in an alternate tuning (such as 'mountain modal'). "What tuning is this in" is a much more common question in banjo world than guitar world.

I fancy a mandolin too, but I'm currently trying to get into banjo and don't want to dilute any further! From what I see at folk sessions I attend the mandolin always seems to be played with a pick. It seems to have short sustain, so a tendency towards frequent picks. I could see myself going for a bowl-back or an octave mandolin, just to be different.

Good stuff, I liked it. My feedback/pointers for the remix: basically leave the instrumental track as it is, but up a bit in the mix. Leave that second 'ethereal' vocal as it is. Push the foreground vocal back a bit by lowering the volume and adding some reverb or something. This song/sound doesn't suit the vocal so far in the foreground.

Good stuff! I like the guitar sound in particular.

Maybe it's just me, but I don't find those particularly weird or amusing. Those tributes are like a show or business that takes a lot of managing, organising, musical directing and so on.... none of which is necessarily done by the 'star'. The Bowie/Freddie is just a (albeit key) performance that goes on top - acting. Similar to if a lead actor leaves a theatrical production, they'll just be replaced and the show will go on. It's not like they need to be like the real David/Freddie who where adding creativity and invention.

I haven't heard about Porky for ages, then we have this thread and I listedneted t olast nights MArc Riley show on 6music and he was talking about Porky. Marc has had roles as a musician, A/R and label owner and spoke very highly of Porky, especially the run out grooves. The Fall had particularly good run out groove comment IIRC. He also mentioned that Porky was responsible for cutting Hey Jude to 7".... apparently the longest song on 7" at that time (don't know about since).

Memphis Minnie

In my experience monitoring is important.... helps the singer sing well and in tune if they can hear themselves. Even more so if there are backing vocals.

Yeah, probably the French 😉!

Cool story, but leads me to a question... sorry! Is the mastering done as part of the 'cutting' (i.e. you hand Porky the final un-mastered mix and he sets the controls to give the best master and then makes the cut)? Or you make a new mix made for vinyl and hand that over to Porky?

I didn't fully understand the difference between mixing and mastering until late. Mastering, as someone said, is optimising the mix for a particular medium. In that sense I don't master, just create one final mix and that's it. For a start, I'm not really putting my music out in different mediums (Soundcloud and Youtube maybe) , and second I would know what to do differently for any given medium. Interesting thread.