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Discussion in 'The Sound Hound Lounge' started by dukeh62, Jun 19, 2006.
Happy Birthday, enjoy your cd its a good one.
Happy Birthday, Phil.
We lost Stevie Ray 18 years ago, today.
Stevie did a lot for the Blues and Guitar in general.
I was lucky to be on a record with him.
RIP, Stevie and Sean.
Hope you can help me out with this one. I have a hard time keeping the sound level down in my band (voc/g + hca/g + b +dr).
The bass player and to some extent the drummer seems to be unable to adjust to the reality that the gigs we play (small clubs and bars, often weekdays) require a very moderate sound level. That or they simply don't get that voc+leads should always be on top of b+dr in a mix... ?!?
I try to keep it down during rehearsals by
1) not using anything louder than a tweed deluxe amp (with an effecient speaker though)
2) trying to arrange/play tunes so that there is space left in the music - frequency wise and in generel
3) trying to get the band to play dynamically (constantly being aware and adjusting to the voc/lead)
4) trying to get the band to play in a level that allows us to go up at least one gear
Beside this they are good players - just used to playing loud with only two levels of dynamics: one for verse and one for chorus. I used to be like that myself years ago. How do I manage to get them to understand that it is about dynamics, dynamics, dynamics and that sometimes less is more?
I can ask them polite (while tryin to explain the reason) to turn down, but to really hit the nail on the head, they have to get it.
Have the drummer play with brushes or Blasticks or similar bundled sticks (in between sticks and brushes). Get the bass player a smaller rig because if the headroom is there, lots of guys feel like they have to use it.
Happy Birthday Phil!
You also share it with my wife.
SRV was born on my sister's birthday and passed on my wifes'.
There are a lot of favorite muscian's born/ passing on birthdays on family members including Rory Gallagher on mine.
Have James Harman join you for a few gigs.......he's good at telling bass players who think they're Tim Bogert to STFU!
Thanks all for your wishes. Loving this SC cd. Hard Luck Woman kills.
Andreas, the bass player should be easy. In reality he is probably just competing with the drummer. Also, if he is turning up to counteract mush due to raised hollow stages, etc mention the Auralex Grammar. It will do the job. It focuses the sound. I use one with my tweeds. They are great. They also really help to stop harpamps from feeding back. You cut through at lower volume because half the sound isn't going through the floor.
Regarding the drummer, I would say Feets advice is bang on. Also, you just need to keep having that 'light and shade' chat with him. If you tell him to turn down he won't. If you get lucky an audience member might mention he was loud. Also, if you get his bird along to the gig and he is louder than everyone else she will be embarrassed and tell him off. That works wonders. The main advice would be to get him there without actually telling him to play quieter as you will end up falling out. If no joy after a while, get someone else. At the end of the day, if he wants to play 'rock blues' it just isn't a good fit.
Sean Costello was a Great Singer and Guitarist, imho.
A Soulful Cat, no question.
I'm lucky in the volume department with guys that I make music, they understand it's about the song. Let the singer tell the story.
Try explaining to the guys that playing music is like a conversation, an exchange of ideas, no yelling.
As a front man use hand gestures to create dynamics while playing, it's your job and your in charge. If the volume is creaping up gesture to bring it down during the vocals. If a guitar solo is becoming a bit loud I'll motion to the rest of the players to bring things down, sometimes very quiet. This trick will cause the soloist to really stick out volume wise and most times they'll adjust. If there's no one to compete/support the loud solo their kind of left hanging out there alone. There's no wall of sound to hide behind.
If all else fails be the prick and tell the offender that no one wants to hear a loud ass guitar solo. The audience will thank you.
Question, on BB King's "She's Dynamite", what is the chord he's using for the I??? Its not a 6 or a 13, nor a 9 or 7th chord... What is it??? This song has stumped me good. It seems to sound ok with a 6th chord, but not exactly right. Figured you all would know. While it doesn't have to be exact, it would be nice to sound a little closer.
I've got my first gig with my new band on Sunday, I'm the "band leader" for the first time ever, instead of just being a sideman. We hired one of the best frontmen in town to play harmonica and sing about 60% of the songs. Should be a great gig, and I set up a myspace for us, so if you wanna be our friend, hit me up, www.myspace.com/eldoradogroup
The myspace is certainly not complete, no songs up yet, but I'll take care of that shortly. We put together the band in late July, so we're still booking gigs for next year, and trying to get a couple for this year.
First finger on E string, twelfth fret. Middle finger on B string, thirteenth fret. Ring finger on G string, fourteenth fret.
That part isn't B.B. You can clearly hear two guitars during the piano solo (the guitar playing those chords in the verses switches to a bass line, and B.B. starts playing chords and fills). Rule of thumb - if the guitar and vocal are happening simultaneously, it's probably another guitar player. It's probably Calvin Newborn.
You are gonna LOVE that amp. Mike Clark can do no wrong...
Just a partial of an E chord??? I was thinking the version I had on the "Original Greatest Hits" Disc 1 the song was in G (could've been B flat, now that I think of it) (EDIT)Ok, I'm really retarted..., that's not a partial E chord... I'll try that, thank you Mike, I shouldn't have doubted you. At any rate I'll be listening as soon as I'm home with guitar in hand again. (EDIT)
I'm sorry I should've known that wasn't BB, playing that little chord riff.
I knew the Fats version was in E, but they also changed the tempo to more of a "lumpdy dump" feel.
"Try explaining to the guys that playing music is like a conversation, an exchange of ideas, no yelling."
+1, right to the point!
Or a loud ass bass solo during a guitar solo.
Sometimes, like last Friday night, you can just scowl at the offender and he'll STFU.
We've been through three house bands and several visits by the boys in blue during sets at our club....due to volume problems. It's exasperating. We're about to re-think the format of regular gigs, AND the open mic night. Rich Sussman and I decided to get up for a set last night and set the blues Juniors volume back from maximum to Vol:3, Master 3. We chose songs with lots of changes and dynamics, then threw in some Jazz and Blues standards and nstrumentals: we tried to make a point and inspire the herd (and I use the term lightly)...the point was, and is still, IMHO AND Rich's that striving for good, balanced presentation is a tough learning curve...and should start during a performer's formative stages of development....most folks just don't get it.
Tonight: Big Mike Devita & the Perpetrators.....sensational band. Big Mike is a superior harp player and runs a very talented unit.
SuSudia & company...Johnny boy, hope to see ya tonight.
When things got out of hand volume-wise at RJ's jam, he used to bring out chairs for everyone to sit in. It totally freaked some people out, but on the other hand, the change in dynamics brought the volume down.
Just my opinion, but I think the best way to deal with louder band members on stage is to just simply tell them they are to loud. It seems that invoking any other sort of passive aggressive behavior just breeds more issues. If the person takes offense then they are probably not worth dealing with again in the future.
I used to really dig playing at those jams when he had the chairs out. As you mentioned, it changed the whole vibe and made it a lot more down home. Some people can't hang with that. It messes with their chi.