Earbrass

Chris Square

Was the bassist with Yeah

Their guitarist Steve Ho

Was a Chinese maestro.

On 07/01/2022 at 19:18, tauzero said:

 

"Woke" appears to be a term which now encompasses all non-bigots. WTF does "woke culture" mean?

On the contrary, many of the more extreme "woke" are themselves bigots, displaying very high levels of intolerance for those whose views differ from their own.

"How do I tell my wife I just bought another bass?"

The OP has misspelt "why".

6 hours ago, Bassassin said:

So the funny is that it denigrates, upsets and offends other people, am I getting that right?

But if you insist that no comedy should ever upset or offend anyone, you are going to lose so much stuff, from Life of Brian to most modern stand-ups referencing sexual material, jokes about the Royal family, jokes against <insert political party / figure / philosophy here>, Dave Allen on religion, right down to the endless innuendos that form the basis of so much basschat 'humour'. We have social norms and taboos, and it has always been and will always be human nature to find humour in breaking them, and in mocking things we are "not supposed to" mock. Whether or not it crosses a line will always be a matter of judgement, and will depend on things like context and the nature of the audience.

1 minute ago, PaulWarning said:

I suppose being offensive is funny if you're not offended by it,  if no one was offended by it it wouldn't be funny

While I wouldn't say that this was universally true, I think it's unarguably the case that a lot of humour depends on the breaking or testing the limits of taboos of one kind or another.

Interesting that nobody's mentioned The Sex Pistols, a band seemingly designed with the sole purpose of causing offence. Their lyrics might seem rather harmless and childish now, but at the time I seem to recall they caused quite a stir. Back in the seventies, many of the older generation had lived through the war, and had lost loved ones in the fight against Hitler; likening the Royal Family to a "fascist regime" was a lot more edgy then. Funny how things change; nowadays they are just a minor part of rock history, whereas some of the DJ's who were not allowed to play them on radio one because they were too offensive.....well, enough said.

28 minutes ago, cetera said:

 

Imagine what could they could achieve if they directed their outrage constructively, where it mattered....?! 

I'm going to guess absolutely f*** all, as in the present case, apart perhaps from the warm glow of superiority they get from having seized an imaginary piece of moral high ground.

41 minutes ago, EssentialTension said:

inti     ?

Inti and the Clown Whores. Great band (or banned).

On 30/12/2021 at 22:57, Downunderwonder said:

We assume all participants are at least partially skilled.

On 31/12/2021 at 19:32, Downunderwonder said:

The actual skill level is 1 or zero for individual test subjects.

I think you'll find the answer is "some".

Any recommendations for a reliable and durable tall boom mic stand that will remain stable and won't droop with a chunky mic attached? Maybe something with a counterweight, or a pivot with interlocking teeth instead of relying on friction? For studio rather than live use.

Thanks.

1 hour ago, Supernaut said:

New curtain rail? 

Those pillars holding it up look nice and sturdy.

12 hours ago, tauzero said:

 I personally find them quite harmless.

That's the key quality I always look for in a band.

Peavey Milestone. These have been available in J & P configurations at various times. Basic, but solid, lightweight, comfy, nice players, good tone, reliable (might have to tweak or replace the jack socket at some point) and readily available s/h for under £100.

I'm not sure whether this one is eligible or not...here's the story. One of the music production channels on Youtube that I subscribe to is that of Rachel K. Collier. Late last year she posted a video about her favourite plug-ins under $100, in which she gave a link to a  vocal stem from her track "No Deeper Escape", and permission for her viewers to sample this stem and make whatever use of it they wished. Never having tried my hand at this sort of thing before, I decided I'd have a go. I ended up using large sections of the vocal lines more or less intact, albeit at a different tempo, and messed with in other ways, but the structure and underlying chord sequence is quite different from the original (in fact I deliberately didn't listen to the original until I was fairly well advanced with my track). So, maybe not really a "cover" as such, and if the Powers That Be decide that it is not suitable for the comp, I certainly won't argue. It was, though, all recorded this year.

The original can be heard on spotify here:   open.spotify.com/track/7aoKxAksi7RZUvFAi7mGrO

Here is my track D-Per Escapade:

The nyckelharpa and guitars are real. All the other drum and instrument sounds came from a Digitakt and a Microkorg, except the very first sound heard, which I found in my Kawai stage piano. The video was made in Reaper.

4 hours ago, BigRedX said:

Anyone looking for innovative ways to program a drum machine/drum tracks in a DAW should have a look at this video:

 

 

Love Andrew Huang's channel. His music is not really to my taste, but his videos are always worth a look

Has the OP considered looking for a "drum machine / groovebox / sampler person" instead of a drummer? Modern machines often have a lot of real-time tweakability / playability, so if you replace the drummer with someone playing one or more of these machines you have a lot of scope for changing things on the fly, extending or shortening sections, warping the sounds in all manner of ways, improvising and so on; you're not restricted to having the exact same performance every time. Obviously not suitable for all genres, but can be made to work to produce interesting and dynamic performances.

From someone just interested in the sound obtained, rather than in trying to sell their "tonewood" products

Two spring to mind. First is the 'Pernod' saga from The Velvet Underground Live at Max's Kansas City. For those who don't know, this was an "official bootleg" record, in that it was recorded by a fan / friend of the band from their place in the audience. Consequently, some chat from audience members can be heard between the songs. At one point, a voice can be heard to ask "Can you get me a double Pernod?". Later, we hear the same voice asking "Did you get the Pernod?...<inaudible reply>...oh you, have to go to the downstairs". I think there's also some comment on one song "Yeah, I've heard it, but it's pretty new". Finally, we here the same voice saying "oh no, I gotta hide....look who's over there". That's it really.

Not remarkable in the great scheme of things, but has always amused me.

Not sure the other one counts, as the stuff between the songs is clearly largely scripted / pre-arranged and is an integral part of the show. I refer to Frank Zappa and the Mothers live at the Filmore East. First heard when I was a teenager, and full of the kind of crude smut guaranteed to appeal to the teenage boy in all of us.

Silly video, but nice track ("In the arms of Mary" - Grai)

It means that if the member leaves, they have to be replaced with an RSJ.

Here's something I've been working on since last December (moving house rather got in the way of steady progress!)

10 hours ago, sammybee said:

 

And you can pick up sample CD's with 10,000+ samples of drum hits for a fiver on eBay. It's not about the number of sounds, it's about the few that it does do, authentically - which samples, and any Roland gear post 1985 fail to do.

Well, I'll take your word for it - dance music is not my thing, and I wouldn't be using those sounds anyway - I use the Digitakt for drums because of its sequencer and sound manipulation abilities. The appeal of the MC-101 for me was its wide range of keyboard and synth sounds in such a portable package. 

EDITED TO ADD

Here are some examples (there is also a lot of scope for editing sounds) - I have no idea how authentic they are, but you can judge for yourselves: