jimmarchi1's forum posts 8022

I'm envious. Sounds like a blast.

it was a hard job because I had to record time code start and stop synced to the cameras and it was midi in the DAW and then I had to turn up to convert to smpte, video was pretty analog then

sadly no, after covid cancelled knob con that year I gave up on all of this stuff... I had to fight for a slew of refunds to that one and with the world in its current state you couldn't pay me to fly or book a hotel room... just kidding, you could because I wouldn't have to fight for my money because YOU paid. I just can't afford this fun anymore and if I can I'm afraid some idiocy will tank it... because, well, look around at all this idiocy, dude. Have a great time though, don't forget to hit up Disneyland while you're the, the OG still schools the magic kingdom in florida. WE used to get in an altered state and split the show and ride the rides near the end, then come back the last day and look for demo deals :-)

I'm not a religious person, but I'd never turn down a chance to see one of the great gospel or pentecostal church bands here in Los Angeles do their thing on Sunday. Churches are one of the few places in this country where you can still find live musicians playing complex jazz-influenced music... AND everyone is up on their feet dancing and enjoying themselves, instead of sitting in their seat stroking their chin.

I had a great temp gig in my 20s doing FOH and recording audio for the video records of a gospel megachurch in a repurposed move theater... I was so sad when they got a permanent church member with my skill set because I was dancing with them and even jammed with some of the guys after services, and they were hella cool to me despite being an atheist white-boy... especially once they knew I played

Yeah, it's quite hard to find fellow band members from m region online.

What about out finding fellow musicians out in the streets? Is there a music scene in your part of Nigeria?

that's always been a solution, I've joined bands with street musicians and people I met at clubs

I was thinking you could just write some code that deletes albums with certain keywords in the title ie: Anniversary Remaster Deluxe Etc

welcome! it occurs to me that perhaps this isn't the best place to find live band members locally, however, it's an excellent place to form an internet-based recording project.

they shoulda put Cain's brain into a mexican cenotaur body

https://youtu.be/Hk2-ujxrCsQ

Ohhhh yeeeeeah!

like the robocop slogan only with equine/bovine attributes:

half man, half horse, all bull

EDIT: we badly need some badass mexican cenotaurs these days

I got that PKK.

YES!!! Shaun Travis!!!! We did that song and also the ShaJiShoJu tune.

remember the time we went to Marrakesh off South and Shaun got drunk and insisted he had to get a Minnie Mouse tattoo? we couldn't talk him out of it! There was another time when he went out with me, Greg and Ulfur Engl for oktoberfest and Ludwig's, I don't think you came, but hijinks ensued... karaoke's at that joint under the inquirer offices... the philly rollergirls, maybe after you left

I believe it may still be on the old Soundcloud. ;)

I lost my copy, so I'll have to check it out, I would love to have q copy, I loved the sound you got for Shaun's bass with that Zoom thingy and he played with so much groove... plus you killed it on drums and vocal... what a fun session

That was certainly an era!

the FDA era... "get sumthin hot and black in ya" mugs... life was brighter and lighter

Life was so different!

you're telling me? I'm raising a 12 year old now! Home on a Friday night. I only work in a commercial studio a couple times a year now, which is weird as hell.

Also: "Cenotaur" sounds like a line of vitamin gummies at GNC that are laced with male-enhancement ingredients.

She'll love you like a man when you're hung like a horse and have the stamina of an adolescent bull... try Cenotaur today at GNC... we now return you to Info Wars

100%, Exactly.

sorry, I try to keep politics off EB, but I'm pretty salty this month.... I also thought that cenOtaur was like minOtaur so like the man, the horse, the bull

Also: "Cenotaur" sounds like a line of vitamin gummies at GNC that are laced with male-enhancement ingredients.

She'll love you like a man when you're hung like a horse and have the stamina of an adolescent bull... try Cenotaur today at GNC... we now return you to Info Wars

I followed the link and that is cool. Really cool. Gonna play with it soon, maybe I'll start with like the Beatles.

I'm sure that's the case, when I write chord charts I write slash chords for the bassist if I want something specific, regardless of how the chord is voiced by other instruments, its pretty common in small band jazz charts... big bands the bassline is written out. But I might not write theslash in anyone but the bassist's copy if I want him to do something specific

Those are 2 good examples. As a point of interest, Larry Carlton wrote the charts for both those LPs.

Okay, mike did most of them but I know what they were... he switched it to cathode bias with a triode mode switch on the power tubes that's like the half power on a Marshall silver jubilee and he used to prefer the 6L6es in triode over tetrode, removed the tone stack from the normal channel, reduced some coupling cap values, removed the stupid master volume, reduced the global negative feedback substantially... eventually he switched it to 4×6v6 but at the time he kept the 6l6es. You'll want to fool around with coupling cap values, I think they're about half stock value so maybe 1 nanoferrad. Not sure about the bias... be careful not to melt your tubes. I think he may have disconnected the fx channel at that point as well as the resistive mixer so the modded channel was directly coupled to the power section for more gain. I know he did that eventually. Speakers were probably EVs but I forget what model at the time. I don't think they were the EV SRO alnicos he eventually put in. Probably ev12L? They contrasted my celestions live. If you can find a decent pair of EV SROs though they are Celestion Blue good in their own way.

EDIT: a free twin, even one of the worst siverface ones is a good thing! don't rul it out stock, the ultralinear master volume twins make great fx platforms and are also interesting for clean stuff, reggae, ska, soul, funk and classic 60s/70s country like George Jones style

y'know, personally I've never felt beholden to the root note, even when I play guitar; if its jazzy I might just mute the two Es and voice a root in the middle or omit it completely because I think 4+ note chords on the chart sound more euphonic in context that way, it keeps the cool notes voiced and it saves effort playing notes other people play too... and then every chord sits in a dense mix with the same kind of tone because they all use 2 wound and 2 plain strings (occassionally I'll use the low E but typically I then mute the A as in the Maj7 inversion that looks a little like a minor on the fretboard). Just what you need exactly where you need it with plenty of room for bass, vocals, keys etc to leap around decoratively. So on bass it depends what everyone else is doing and how they do it. If your ensemble is medium to large then odds are you have plenty of root notes happening all the time, do they need low end reinforcement or a bubbly bassline? Are the roots integral to the melody or are the key phrases drawn from other parts of the chords and associated scales? Is there even a vocal? Is someone going to improvise a solo?

I always think of roots as being realtive. On piano, Elton John almost always voices his 5ths on the bottom... of course that allows the bassist to play roots, but you see what I'm saying. No one thinks you should wail away on the minor 3rd and like a dominant 7th in a pop song, but those notes might have a place under a m7 and the root may not... listen for mood some time. Just trying aoviding the roots in a song you know and see how the mood changes. You will of course need to have a practice track to jam with, but give it a go. I wish I had a system but I'm far more caveman than that and shouldn't pretend I'm not. I have a decent amount of education and a good ear but I'm a knuckledragging rocker underneath that and trust my gut a lot.

EDIT: this band before it was dog n pony was also known as 54321BLOWHOLE, the hell's satans and Badass Mexican Cenotaur (yes, centaur with an O, for cinco demayo, but also because Dan thought Cenotaur was the word for a horse-person and we didn't correct him because it was funny)

I'm always experiencing conflict between my inner King Buzzo and Walter Becker.

More like lead tones for the main riffs. He wanted to avoid 5ths oi r 7ths at allcosts

It was a thoroughly colobrative prcess including bass and drums... me and mike might bring a vague idea but it was not 'writing' as I usually know it, Dan and Chris had a lot of instructions for me and mike. Chris had this root note jackhammer thing going and he wanted to know the lead tones for every bar. we all loved the stooges fun house and we really liked his idiotic approach which brought the dumbness of the band to the fore

good topic

2 month shameless bump.. still a rock guitar tone primer, play it loud and proud with fenders, marshalls n' voxes

Exactly!!!

I remember the days of this mysterious band, Calidelphia, and the usage of GRM Tools.

as I recall we were both quite taken with the comb filter and pitch delay from that suite of plugins, there was nothing like it on any hardware at the time outside of maybe something in an H3000 (a device I could never afford and never had enough time to explore thoroughly)... I think you installed those GRM plugins on my PC when we were recording the sneaker pimps tribute at the Merion studio before you fully packed everything up, because you had your kit set up in that great pentagonal room... with I think Sean on bass?

I used it on a couple of ITB mixes last week and I think I'll be buying the full version. It can sound a bit like a more subtle version of GRM tools comb filter from way back when with the notes dialed in to resonate in key, but I really liked the way you can soak up certain note resonances and have a really inhamonic room sound too.

There must be something you're missing, why equip the ml5 with a full size midi jack and not accept program changes? Can it store 'patches'? If so it should accept program change commands from the boss ms3, menu diving for the boss is in order. If you can't store patches on the ml5 then it may not accept program changes although you may be able to turn loops on and off with CC messages. The Boss unit probably gas sonefuddlymenu options...

Without even looking at the gear you have:

Maybe it's a channel issue. I find 75% of midi issues involve a mismatched channel somewhere, you might want to make sure these units are on the same channel or defaulted tosend/receive all channels... 20% are a send/receive settings errors, like maybe program change or CC messages are disabled somewhere (though not usually on guitar stuff) and 5% are damaged cables :)

Lastly, I hate to ask this, but did you read the manuals carefully including the specs section? If you're using 3pin minijack anywhere check the standards of both devices. The korg standard has been officially adopted by themidi association but theres also a novation/elektron standard hanging around that has signal, hot and ground on different pins. So using a mini to mini might not work at all. The right midi to din adapters and a real midi cable will be needed in this case to get the data to the right place.

This queue isa gamechanger.

Beneath the marketing propaganda this article is a pretty informative description of every commercially available large format SSL series. People always seem confused about the changes, especially the various EQs from the E series vs the unpopular G series EQ. It talks dynamics and mic preamps too.

All it really excludes is the 4k vs 6k vs 9k designations (which mainly refer to the number of submasters...4k is quad ready (the 4000b was made in the 70s), 6k is 5.1 capable and the 6000G was pretty popular in broadcast and film post, the J and Ks are "9000" desks with 4 submasters).

Enjoy. Happy new years!

Saw the request in the queue, created a brand for Artisan and approved the LW50.

Touché Mr. Marchi1. Very helpful example. Thank you.

Took me a minute, but I see/hear how the 2 lane starts as inner-voice movement, then resolves to the tonic root at the end of the phrase.

the bass is mixed a little low, man, but there it is... its all over aretha franklin's atlantic recordings too

yeah, that sounds right... I'm a big fan of voice leading in general and on bass I love melodic lines, not just a walk but a bassline that's a hook, so if I get the right chord changes I want to write a hook and that will use that2/9 if its available in places where I can open up from the root and dominant, the great thing about the mu chord, or add9 is it has a strong consonant note added that's not a root, tonic or dominant but it still has all those notes, having that available is hugely attractive. I think in piano. For Dan examples listen to the A verse to Bad Sneakers:

https://youtu.be/ErenIQorXac?si=kcT82Sm-tbdKvxXX

I'm still getting used to it, it's different for sure. It sounds bad a lot of the time turned up or if you solo a source and the aux but tucked into a mix its growing on me. Particularly with the notes of the I chord or all the scale notes set to absorb so all the reverb is inharmonic. Still getting my head around it though.

I like your voice. 'You're ephemera' is like 2 different style EPs stuck together. Definitely not what I was expecting. Gotta get some more work done, I'll have to listen to the last couple tracks later. I wasn't expecting a modern pop/RnB record going in so it was a pleasant surprise.

Every space has resonant modes that can be described mathematically, ask a structural engineer, but until now we didn'thave the processing power to use those equations in real time to simulate a space...

Temperance is a modal reverb model, not an algorithm or a typical IR, and if that's not unique enough, it has resonances tuned to the western tempered scale so you can resonate or absorb the notes in your production, giving you control of the 'musicality' of the simulated space. For a better description read Behind the Gear in the November/December issue of TapeOp. The light version is free right now. I'll be playing with it all day today.

I do not work for Eventide or even know anyone there, I'm just stoked about a new type of reverb... last new idea like this was the U-He protoverb.

y'know, I mentioned leading tones and I think it depends if the 2 is a leading tone... if it leads the 1 or 5 of the next chord I will definitely lean into it at the back half of the last bar or half a bar and then do something melodic on the next chord and hope no one says "no" if it's cool to me. I find the higher functioning musicians bob their heads to that sort of thoughtfulness, and you keep it but the wankers usually get uncomfortable and you give them roots or go home. But most people get it. That 2/9 is typically a leading tone and then you can get stylish. But you gotta give it groove, get the weird notes behind the beat and the solid notes ahead of the kick a little because those little pocket changes present every note in its best light on bass.

The kinda people who give you that chord (apart from tom petty type 1st position D with an open high E ) are expecting you to run with it regardless of the instrument you're playing because the 2 is a leading tone in anything that has a whole step chord move across 1 or 5 in it and I think folks know that at least instinctively.

Subjective was the wrong word. Situational.

I love that we both used Prince as an example... "great minds..."

Are you working on any new music, Finley?

Exactly! 🤝

I am indeed, the grind never seems to end, I im hoping that I will have something to drop next year

Where can I hear your old music. I feel like I missed the boat somehow.

Its kinda subjective. Give me a chord change.

Even with just straight majors in say a i-iv-v-iv in let's say C for ease, I might be thinking of that suspension on the iv chord so C on I, F and a G under iv the 1st time and that leads the V chord's root, then a 6th under G for a soulful walk up... back to F, but let's think of a different substitution. So Dm7 is obvious, but a less obvious sub would be Ebmaj7 which has that D up top, so available turnaround notes are Eb, F, G, A, Bb, C, D which describe the F and those 2 substitutions as well as being an F scale... in F you wind up with another 2, a major 7 and a 4 as potential accents for the classic churchy suspension. Put them together creatively and you lift that turnaround out of mediocrity and maybe other musicians will jump in on the fun. Maybe ditch the last F on all instruments for a quick Ebmaj7 to Dm7 and back to C... but maybe pkay a G

On bass I almost always honor a 2 or 9, just not on the downbeat. I seldom honor the 3rds of any chord unless I'm walking or they're on the root like a secondary dominant inversion or highlighted in the melody...

I like referencing albums.