. As a matter of interest, what would you be getting up to with rods in the song?
Tapping out some very low intensity, washy poly rhythms...
. As a matter of interest, what would you be getting up to with rods in the song?
Tapping out some very low intensity, washy poly rhythms...
If the band is just to make fun and do nothing serious, then I would suggest really leaving it for what it's worth, don't have expectations and just have fun togheter. If it's serious then really get rid of him (but that will cost you a friendship, unless you are VERY diplomatically skilled or if he just sees the light and understands that he needs to work hard himself to get somewhere and leaves by himself).
Yes, ending 1 is a ton better than ending 2 (even if the harpsichord bit was well played).I'm not crazy, am I?? The ambient sound in the first ending is about 100x better than the dinky harpsichord in the second ending, yes???
I need some objective ears to say, yes Polly you are not mad and your ears aren't playing tricks on you.
It depends on his personality, really. If he were anything like me, and per what I'm gathering about the scenario (I'd have a different approach in different scenarios), he might just keep playing the way that other folks in the band are not digging so much because (1) he doesn't agree with their views about what sounds better--he's probably playing what he's playing because it sounds good to him--and that's the case relative to what other folks are already playing, and (2) he's not of the opinion that player's parts should be up for vote--he already said he's not telling other folks how to play, so they shouldn't tell him how to play. In a situation like that, they'd probably have to either can me or adjust themselves to be able to accept what I'm doing.Let it be on him to say he if can or can't. If he says he can, that's when you stop the song when he reverts back to his old ways and call him on it. He will either change or quit. If he stays the same, then you have the option to say, "but you said you could do this.." Make him agree to it and hold him to it.
Man, if they had "rep points" here, I'd definitely give you some for "tightosity".it really needs to be fixed if he's ruining the tightosity of the band.
I once had a producer who was into the "less is more" idea use "Billie Jean" versus the 9/8 section of "Scatterbrain" as a hopeful example--I guess he was banking on me thinking that "Billie Jean" sounds better, so he played both and asked.Halfway through the recording of 'Thriller' the Sony Music execs realized they were sitting on a gold mine and started to ride Quincy Jones about the arrangements.
When one of them asked him why there was " all this empty space" in the opening groove of Billie Jean, Quincy replied " I'm leaving a little room for God" .
I liked the second version guitar part better . . . just there was some dead space in the middle of it--what happened to the keyboard? (That's the part you overdubbed, I take it?) The second version could really use that, but not, in my opinion, at the expense of what the guitarist was doing--in addition to it instead.In another, a highly ethereal tune, he chose a staccato voice which he plays out of time.
Just different tastes. It's not the kind of thing one can be wrong about.Phew! Thanks Abe. Sometimes my grip on reality is tenuous not unusual that something I thought was totally obvious turns out to be wrong.
It's your responsibility to make this 'Scatterbrain'-type stuff that we're playing sound as good production-wise as 'Billie Jean'". We didn't really get along that well with that producer, lol. I'm not sure how we ended up with him, because I don't think he was into the kind of music we were doing.
Yeah, I think that producer just didn't like prog and fusion, including Beck. I don't know if he was just thinking, "I know how I can get these guys to play some disco instead" or what.Hey, I know for a fact that God always loved Jeff Beck more than the other two guys, so he can do no wrong..
I'm probably the wrong person to ask if anything is overplaying, lol. I wouldn't even say these guys are overplaying: http://www.youtube.com/watch?v=nvEhyxZqtCkand yup, thats a great example of wall to wall notes creating music magic. Its still not overplaying, though, is it? : )
haha--I'm sure I think of it in 9/8. ;-)Are you sure about the 9/8? ( kidding.. )
Pol, normal service will be resumed shortly. WARNING! Do not forward this clip to your bass player.I'm probably the wrong person to ask if anything is overplaying, lol. I wouldn't even say these guys are overplaying: http://www.youtube.com/watch?v=nvEhyxZqtCkhaha--I'm sure I think of it in 9/8. ;-)
I wouldn't even say these guys are overplaying: http://www.youtube.com/watch?v=nvEhyxZqtCk)
haha--I think maybe he thought those parts were too easy. He thought it was too similar to being Cliff Williams.The clip description says ex-bassist of Braindrill. Should we be reading more into it?
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I feel the noodling harpsichord in the second version detracts.... He's been itching to use the occasionally-lifelike alto sax sound on the keyboard too ...
The danger is ... what if most decide the biggest problem is the drummer? lol
Thats when you dart him. A mild tranquilizer should do the trick. That or rubber bullets..
Does everybody in the band suffer from a lack of taste?
One clear area where we could improve is there's too much tendency for the players to play ALL the time through every song.
To be able to mesh your voice into the music rather than simply overlay it, comes with a lot of experience IMO.