Bobadohshe
-
Posts
6,480 -
Joined
-
Last visited
Content Type
Profiles
Forums
Blogs
Events
Articles
Downloads
Gallery
Store
Posts posted by Bobadohshe
-
-
I agree with this. But there is something to be said for what an incredible piano tone and feel does for your inspiration and thus your playing. There is a emotional component there that shouldn't be ignored
-
We use E-mails and texts. There are plenty of e-mails. Each gig has a 'gig e-mail' with the Gig info. The setlist will be in another e-mail. There are also E-mails about impending decisions or things that we need to know about / think about. There are also texts to remind people of stuff they might forget, and there are also texts which are more personal / life oriented. Our system works pretty wonderfully with the exception of our youngest post millennial member who used to not respond to E-mails. But we've called him out on it enough that he's gotten his $%^T together for the most part.
The e-mails don't get bogged down in too much crazy 'band drama' or 'I feel this or that'. If there is that kind of stuff to talk about, we'll schedule a meeting.
-
Bobby - I guess no call for clonewheel in your top 40 band?Nailed it. Montage 7 and CP4 is my Top 40 rig and it kills.Cheers, Mike.
Trust me I would love it. And a couple times a year I bring my SK2 and set it up perpendicular to my Yamaha stack. But adding a third board makes for significantly more hassle and time, and frankly 70% of the stages we play on don't have room for it. It also only adds about a 20% bump in sonic improvement, given the material we are playing. If we are playing a dinner set, the clonewheel is more useful {ballads like Tennessee Whiskey} but if it's all dance Top 40 there isn't that much more of a need.
-
Agreed. I could never do it in my band I just need all these keys available at any time. I need 88 + another keyboard.
Says the man with a Montage 7...
I guess that's to put above his CP4!
Nailed it. Montage 7 and CP4 is my Top 40 rig and it kills.
-
I think it depends on the material. I splay in a band that does rock and pop and I end up doing a whole lot of splits on 2 keyboards. 61 keys just wouldn't be enough real estate for me. I have 61 on top and 76 on bottom. I know a guy in a pop band who gets by with just 76 keys, but in order to do it, he has to do stuff like transpose some of the zones so he can fit all the splits within the keys he has available, which would screw me up because he's playing one part ina different key than the other parts at the same time.
Agreed. I could never do it in my band I just need all these keys available at any time. I need 88 + another keyboard.
-
Well bloody hell, why didn't this example get shared to make the point rather than Time Traveler?
But isn't it Snarky Puppy's collaborator that makes this example what it is?
Because I wanted to use an example that relied on the sample pad so it would be more apples to apples with the original post. Even from that example you can hear a much more sophisticated harmonic and rhythmic palette. There's plenty more proof out there. Here's a live version. Rai's synth solo is insane.
[video:youtube]
-
I finally watched the FJK Tokyo video. OK!
I didn't hate it as much as I though I might based on some of the comments I'm seeing here. But I still think it's a very low bar of performance quality. Compare it to a band like KNOWER who you could kind of consider as occupying the same space in modern jazz. It's Jr high Vs Grad School.
[video:youtube]
-
For all those here bagging this guy out, well, post some examples of YOUR playing....pure solo stuff. I for one would be keen to compare the "great" players here and their chops with this guy.
I bet there would be plenty of great playing. Also, most of us are not on Montreaux's Youtube Channel.
-
Interested in hearing Josh's responses to this thread
-
I am not a fan of all Mid century architecture, but this one is gorgeous. His music room is jaw dropping inspiring.
-
Plan a couple brief breaks during the set to do things like thank everybody for coming out, introduce the band, etc, and plan the set list so that those breaks allow for things like instrument changes and any needed tuning.
If the drummer starts and somebody isn't ready because of a malfunction, hand signals work and the rest of the band can extend an intro and just jam for a bit, maybe the singer can talk to the crowd with the jamming going on. When the offender is ready, give a nod, and the drummer can do a signature fill to kick everybody back in.
Dan nailed it and speaks from experience. I also speak from experience with my own Top 40 band. Going tune to tune to tune to tune actually will cause the audience to tune out after awhile and take you for granted (like a DJ). Every few songs there NEEDS to be a break in music. It gives the audience a chance to take a mental breath, and it's the perfect opportunity for a front person to banter a little and for the instrument transitions to be made.
You need to make sure your drummer understands this.
-
the last year playing out, I was clearing just over $85,000.00 a year.
Gross or as a sole proprietor, net (after write offs)?
Also: before or after taxes?
-
Just like to add-- if I were you and had your particular skill set that you do very well, I'd seriously look at San Diego. Of course Bobby and the other Josh would be way more in tune with the local scene then me. My remembrances of it were, again, from a different time.
What hasn't changed is, the quality of life would be better in San Diego then LA. Don't know about rents but housing has basically caught up with LA so that I'd say they are both on par with each other.
I'd think if you could find some places to do your solo thing, find a singer to come in and work with you when it would be apropos , supplement that scene with some freelance band things around town - man I think you'd be groovin'. I can't see you ever wanting to leave. It's really nice down there ! The weather is heavenly. Down a notch or two in intensity from LA. Less jive ass Hollywood types too.
Dave isn't lying when he says "the quality of life would be better in San Diego then LA". Take it from one who has lived and worked in both cities for most of his (short) life. The traffic is getting much worse down here and people love to complain about it, but compared to L.A. it is like a sprained ankle vs a torn ACL. This is mainly because of a) distances being much shorter than in LA and b) the fact that it's not always bad all the time like LA. If you live where Dave lives in LA and have an evening hit in Long Beach, it could be a couple aggravating hours in the car easy.
Also, our scene is a welcoming and nice one. And there are a decent amount of $100 a night jazz gigs. There are also casino gigs for Top 40 and variety acts. Those are more like $200 a night. The problem is, man doesn't live on $100 a night gigs alone, not in this town. Dave is right in that housing around here is just as expensive as Los Angeles. Musicians around here make it work in different ways. Some teach in college, others in High School. Some are just gig hoes and live a meager life. I explained in the thread a few months ago where we were talking about how much $$ people made how I personally make it work. Basically because 1) am part of one of the most working Top 40 bands in town, 2) have had the weird luck to become the sports organist in town, 3) like to teach, 4) hold down a church gig, 5) 1) I'm versatile and can play/read in most styles so get called for misc sessions and odds and ends kinds of filler gigs, 6) still have L.A. connections from my time there so get to work up there from time to time 8) Get a rad deal in that we rent our house from my father in law at 25% under market price and most importantly 7) have a wonderful wife who is a speech therapist and will always have a solid school district gig with benefits.
For a husband and wife musician duo, I just don't know if it would be the easiest place to move. In fact, probably far from it. Would be good to hear MathofInsects' take.
I love NoCal ! If we had the dough, I'd have a place in Mill Valley, Larkspur, Kentfield , somewhere within 5 minutes of the Mt. Tam trails. They could bury me on one of those beautiful trails ! SF is so over the top expensive, even compared to LA, and the traffic is beyond insane now. Actually worse then LA in that you have less options to get somewhere. Again with your Nola solo piano style, I can picture you being very popular on the club scene in SF , Berkeley, Oakland and outlying areas.My uncle who lived in Kentfield passed away 2 months ago. I spent a few days up there and played his memorial. I agree Dave, it's one of the nicest places in the world. $$ and traffic up there though.......
-
Tight little community here, so it's always a surprise when I come across a name I don't know on keys. I am always fishing for names of potential new subs. There are a few of us who are sort of "hot-swappable" depending on the gig, so even if we don't know each other directly, we usually play with people who know each of us and can cross-pollinate when needed.
As for forumites, here in town we have Bobedohshe, U. Honey, MotiDave, and IMRT. Maybe one or two more who I know in person but not by name here. Of the above, I know the first three in person, in descending order of closeness/intersection. I only know IMRT by virtue of mutual sidemen. I probably know another 5 or 6 in town, maybe a couple more.
I have said it before, but one of the amazing things to me about the scene here is how tight it is--meaning, my friends all tend to be people I know through music (plus school parents, or in the case of U. Honey, both). I didn't have that back east, where "music" was just sort of another job and if you didn't play softball together or go to school together, you didn't see each other until the next gig.
Yep. I'd like to think I know most of the guys in town, though not all well. There is a nice amount of gigs to keyboardists so nobody is necessarily swooping up all the gigs, so the vibe in the scene is a pretty awesome one.
-
I love that device duck-taped to the side of that beast. What is that???
That's the comm for talking to the control room.
-
Pretty weaksauce Electone. I use(d) a beefier one from the same era - the D-80 - for years at Petco Park. There was plenty of cheesy timbres to be gotten, and indeed the auto rhythms were cool, but even I had to put it through a Ventilator to get a tone I actually enjoyed hearing in the stadium.
-
But it's an interesting time in the Bay Area, with both the A's and Giants somehow in borderline contention. I feel some optimism about the Giants' future now that they are claiming to have abandoned their strategy of overpaying free agents on the downhill side of their careers.
The worst possible thing for the Giants long term is them pseudo 'contending' right now. This prevented them from selling at the deadline as well as hurting their draft position next year.
-
Damnit I want one. I absolutely loved it when I got to play it at NAMM. Then I saw mixed feelings about it on here and kind of doubted myself. A CP4 with Nord level EPs and Wurlys would be a huge winner for me.
-
Everybody understands that a trumpet, trombone, and a couple of saxes is a horn section.
A point of agreement: Chicago and BS&T notwithstanding, I've always preferred horn band instrumentation to be one trumpet, one 'bone, and two saxes. It provides many more voicing options.
Much rather 5 horns than 5 please. 2 trumpets. Way better lead capabilities with trumpets able to play octaves.
2 Trumpets
Bone
Tenor
Bari
I wrote my entire album with that instrumentation pretty much
-
Nobody"s suggested a breath controller?
Great tool, especially for expressive single instruments and exposed dynamic lines.
But when you're playing live and covering mostly punchy pop horn lines with one hand, playing a piano or rhodes patch with your other hand, and maybe trying to look cool on stage, the breath controller is actually more of a liability than an asset.
-
I have a performance that I made on my Motif XS that does the job really nicely. When I got my Montage I rebuilt the exact same patch because it worked so well. Of course it's not as good as real horns, but in the mix out front it's beyond passable. This performance is a big stack of big band saxes and some bone/trumpet big band patch for the top end. It works great for tunes where the horn section is a combo of strong reeds and brass. Tunes with big horn sections like September, Conga, Crazy In Love, Uptown Funk, Let's Dance, Workin Day and Night, KC and the Sunshine band crap, etc. all sound great.
There are certain songs for which the keyboard horns are a much poorer job. When the brass is more mellow and flugely, tunes like 'What You Won't Do For Love' and 'I'm Coming Out', I have a different performance, and frankly it's not as good. If it's PURE Flugel or French horn, my board does a pretty good job with a double french horn patch or flugel layered patch.
Of course my preference is to have real horns which we often have on the gig. Sometimes the budget doesn't allow that.
-
No guys, i think youre all missing it. This wasnt a brave gal fighting to be respected and accepted as a musician night. It wasnt that at all. they could easily have had 20 accomplished individual female musicians still go put on a crap all-star show.
I think what Majuscule said still applies.
The ladies outdid the prior male all star event because they prepared as a TEAM.I know my guitarist went to 3 rehearsals and she only played on about 1/3 of the show. How often do guys go to 3 rehearsals for an all-star show? Lol ... cmon! You know the answer ... how often do we go to one is the real question.
The ladies had stage movements mapped for every song. Ladies knew when to enter and to where, when to exit and which way, etc etc. They broke down every song and designated specific parts including backup rhythms, 2nd and 3rd harmony parts, etc etc. Keys on this song, violin on that ... etc etc. Details, they prepared in detail.
I don't know that what you are describing has anything to do with gender except that in your specific example the ladies did a great job preparing. I think in any killer pro high level band or production all the details you list here will have been addressed.
-
Had a thread on this last year. I got to go down and play the CFX at SDSU.
I thought the instrument was pretty fantastic even though it wasn't fully set up and tuned when I got to take it for a spin. I would love to have another crack at it.
-
......This article provides some perspective, I think:
Great article.
Man do I want one and yet really totally do not need one. Kind of like wanting a $100,000 car or something. In theory I could way over leverage my life with $1,000 payments every month, but it would be dumb and way overkill when my prius does a kick ass job for my needs in every way.
OT: Beer for party
in The Keyboard Corner
Posted