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Steve's Blog: Solo Bass & Beyond



My House Concert Looping Rig.

December 25th, 2008 · Comments Off on My House Concert Looping Rig.

OK, so it’s christmas day, and I’m blogging, what of it? 🙂 Happy Christmas, y’all. Hope you’re having a fun day. We certainly are here in Ohio.

Anyway, thought I’d do a quick post about my touring looping rig. Here’s the picture:

from the top we have:

Samson S-Mix (mixer)
ART TubeMP Preamp
(next to it is the…)
Lexicon LXP1 reverb.
Looperlative LP1 looper
Lexicon MPX-G2
processor

and on top of the LXP1 we have my Ebow, G7 Capo, Slide, Sennheiser Mic and currently-missing rubbish cell phone (if you see it around, let me know, I can’t find it anywhere). The JBL speakers were provided for the house concert in Milwaukee. We don’t generally travel with speakers in the US, just find people locally to lend us things.

The signal flow is really simple – bass goes into Lexicon MPX-G2, which goes into the S-Mix, and has the ART preamp in the FX loop. Lobelia’s loop mic goes into the LXP1, and that also goes into the S-Mix, which then goes into the Looperlative. The Looperlative then goes out to the desk/PA/Speakers/whatever.

And here’s what’s happening on the floor –

The big pedal, rocked back, is the Visual Volume Pedal.
then an M-Audio expression pedal, which controls the loop volume.
Then a Rolls Midi Wizard that controls the looperlative.
then Another M-Audio expression pedal, for the MPX-G2 (sometimes wah, sometimes volume, sometimes pitch etc.)
then a Roland EV-5, for Loop feedback.
Then a Lexicon footswitch for different stuff on the G2
and finally another EV-5 for track speed on the looperlative.

Meanwhile, Lobelia is using a Roland RC-20 for much of her looping, unless I’m looping her or she’s doing improv stuff through my rig, in which case she just plugs a mic into the volume pedal and uses my bass set-up exactly as-is.

So there you go, a Christmas present in the form of some gear geekness. Post a comment with any specific questions you may have about how it all works 🙂

(the second photo is by the lovely Tracy Apps )

Tags: bass ideas · Geek · Gig stuff · looping · tips for musicians

Heads Up – Looperlative fall sale…

November 1st, 2008 · 4 Comments

As you’ll know if you’ve read anything about the gear I use for music-making, I’m a HUGE fan of the Looperlative. It’s something I’m very proud of that it was after a gig of mine that Bob Amstadt who invented it decided to build it, and that he asked me to be the first tester and co-developer of the software (I didn’t write any of the code, I was just sent an ’empty’ box and asked him for the features I wanted. He’d code them, I’d test them, and thus it was born, a looping device that did pretty much everything I could ever imagine wanting from a looping device!

The Looperlative

It really is the most fully-featured hardware looper around. I’m not a fan of doing these things on a laptop (I know some amazing musicians who do, it just doesn’t work for me on a practical level, or a latency level).

Quite a few of my musical friends have bought them since, and others have expressed an interest in getting on, so I thought I’d point you to this post on the Looperlative forum, where Bob offers a pretty hefty (but undisclosed due to commercial sensitivity, I guess) discount…

If you’ve been considering getting one, now’s a good time. If you don’t know what the looperlative is, watch any of the videos I’ve posted in the last 3 years on Youtube – that’s the Looperlative that lets me do all the layering. All the stuff on Behind Every Word is done with the looperlative. All the layers of bass on the Lawson/Dodds/Wood album are done with the looperlative. It’s proper amazing.

Tags: Music News · Musing on Music

Steve Lawson :: Solo Bassist

May 3rd, 2008 · Comments Off on Steve Lawson :: Solo Bassist

Listen now:
Sept 18: Brand new solo album, Beauty And Desolation, out now

HELLO! I’m Steve. I’m play bass (and live electronics) both solo and in a lot of collaborative settings. I’m also a music teacher/lecturer, a journalist and am doing a PhD about audiences for improv. Here’s where you’ll find a lot of music, my blog (there’s over 15 years of it to read back through 😉 ) and info about gigs, my musical history and what else I’ve got going on.

If you’re already familiar with the music, please consider having a look at the Bandcamp subscription offer – making this kind of music means that there’s no sustainable model for music making to be built on Spotify or Apple Music – the scale of audience needed is just not compatible with making instrumental music with a bass, and releasing as much of it as I do. So I developed the subscription as a mutually beneficial way of getting all this amazing music out to you, and making it possible for me to keep recording and releasing it. No-one’s getting rich off this, but I’m still doing it three years in, and the subscriber community is growing every month. Come and join us!

While you’re here, come and say hi! Find me on Twitter, Facebook, Instagram, or send me an email! I’d love to hear from you.

 

Latest video, Beauty And Desolation (new album title track):

 

Read the cover story from Bass Guitar Magazine‘s October 2015 issue!

Recent Solo Videos:
Language And Memory  (from Beauty And Desolation)
Beauty And Desolation 
Transcendence And Decay (from Beauty And Desolation)
Small Is Beautiful (from Small Is Beautiful)
Vertigo (from Referendum)
Her Kindness (from The Surrender Of Time)

 

 

Some lovely quotes:

Loading Quotes...

Are you new round here? Want an overview? Here’s ‘Steve In A Nutshell‘.

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Timeline and Trivia

May 3rd, 2008 · Comments Off on Timeline and Trivia

Musical Equipment Used

Elrick Gold Series SLC 6 String fretted and fretless basses, Modulus Basses (6 string fretted and fretless and 4 string fretted), a Rick Turner 5 String Renaissance ‘Amplicoustic’ fretless bass, two Aguilar SL112 cabinets and 2 Aguilar Tonehammer 350 amp heads, A Jule Monique Preampthe Looperlative LP1 for looping, Keith McMillen SoftStep controller and Quneo controller, MODDevices MOD Duo for processing, MXR, Darkglass, and Markbass overdrive pedals, a TC Electronics HOF mini Reverb and Flashback delay, Aguilar Overdrive, Fuzz, Compressor, Octave, Chorus, Filter and Preamp pedals, MXR Reverb, Sub Octave Bass Fuzz, Bass Distortion, Bass Chorus Deluxe, Bass Envelope Filter, Bass Preamp & Bass Fuzz Deluxe, Subdecay Vitruvian Mod ring modulator, Pedal Train pedal board an E-Bow+, Latch Lake and Dunlop slides, Dunlop Super Bright strings, East-UK preamps, Evidence Audio cables, GoGo tuners, 2 Korg Mini Kaoss Pad s and a MOTU Ultralite Mk III Hybrid. And I carry my basses around in SlickBag gig-bags.

Musical History

1986 – got a bass and joined first band
1988 – broke arm, kicked out of first band, formed second band (EARS) – played first gigs
1989 – GCSE Music, Grade C
1991 – AS Level Music, failed – fine at composition, not so hot on history… :o) Somehow got into music college in Perth, Scotland. Teaching as head of bass at West Lothian Rock School.
1993 – left college, moved to Lincoln, tour with Canadian singer/songwriter Johnny Markin. Gigs all over Europe, played on three albums.
1994-96 – working as a pro in Lincoln, teaching, studio and live session work.
1996 – moved to London, more session work, including TV, Radio and theatre work, more teaching.
1997-99 – teaching at Drumtech and Basstech, West London.
1997-2000 – freelance reviewer/interviewer/columnist/gadget guru for Bassist magazine in the UK.
1999 – Toured Europe with Howard Jones. First completely solo gigs in London.
2000 – Released And Nothing But The Bass on Pillow Mountain Records. More solo gigs around England.
2001 – 2 Solo tours of California, including headlining the world’s first solo bass looping festival, and tour with Michael Manring and Rick Walker. Clinics for Ashdown Amps and Modulus Basses. Solo gigs in France.
2002 – Another tour in California, Released Conversations, duo CD with Jez Carr, on Pillow Mountain Records, 2 Major tours of UK Theatres and concert halls supporting first the 21st Century Schizoid Band then Level 42. Two shows at the London Guitar Festival. National TV and local radio appearances in the UK. Featured in the Sunday Times Culture Section. Released second completely solo CD, Not Dancing For Chicken. NDFC picked as one of the best CDs of the year by Aural Innovations
2003 – four week solo tour of California, gigs with Michael Manring and David Friesen, including the Anaheim Bass Bash, featured interview in Euphoria magazine, and review of NDFC in Bass Player (Feb issue). New recordings with Theo Travis, BJ Cole and Patrick Wood for future release. Duo gigs with Theo Travis. Gig at the barbican with orphy robinson. Recording in France with Vigroux/Cury/Rives for upcoming release. first italian solo gig and recording session in august. Duo CD with Theo TravisThe Arts Show, alongside Jenny Eclair and Barry Cryer. Acclaimed appearances at The Detroit Bass Fest and European Bass Day. Gigs in US and UK with Muriel Anderson. A second tour in England with Michael Manring in November.
2005 – another year another NAMM show, followed by a few promo gigs with Michael Manring in California. Dates with pedal steel guitarist, BJ Cole, and recording and gigs with singer Cleveland Watkiss, as well as more UK dates, the Edinburgh Festival and a trip to Italy. Started monthly music night, Recycle Collective.
2006 – back to California, NAMM again and some more dates and another day-long masterclass, Recycle Collective continues to be one of the best live music nights out in London, and features musicians such as BJ Cole, Cleveland Watkiss, Orphy Robinson, Seb Rochford, Todd Reynolds, Jason Yarde, Andy Hamill, Patrick Wood, Leo Abrahams, Julie McKee, Andrea Hazell. UK tours with Theo Travis, Muriel Anderson and Ned Evett. 4th solo album, Behind Every Word, released on Pillow Mountain Records. Recording in Italy with guitarist Luca Formentini. New duo formed with singer Julie McKee, for the Edinburgh Fringe. European tour in October, including EuroBass Day and European Bass Day, as well as an electronica festival in Italy. Behind Every Word makes a number of end of year ‘best of 2006’ lists.
2007 – guess where it started? Yay, NAMM!! Bass-Bash, two days of masterclasses, Modulus clinics and gigs both solo and with Muriel Anderson and Vicki Genfan. Much fun. First New York show too. European tour with Lobelia, including first time visit to Frankfurt Musik Messe and gigs in Italy, Spain, Germany and Denmark, 7 week tour of the US, 24 states, 7000 miles. Gigs at Greenbelt festival with Lobelia, Sarah Masen and Ric Hordinski. Recycle Collective relaunched in September. Playing on one track on Luca Formentini’s album, Tacet. First Amsterdam and Geneva gigs in November. Released live EP with Lobelia in December. Recorded improv album with Patrick Wood and Roy Dodds.
2008 – NAMM again, with Lobelia this time, playing the bass-bash and for Looperlative and Modulus. More California shows. Back to England, playing lots of ‘acoustic’ shows with Lobelia, London Solo Bass Night in March with Todd Johnson and Yolanda Charles, . Year ended with Lawson/Wood/Dodds album ‘Numbers’ released, and some LDW gig dates round London, followed by a whole string of house concert shows in England and the US with Lobelia. 2008 was also the year of social media – 10 years of running my music career online turning into a 2nd career teaching and consulting on how it all works, including Nokia flying me to Helsinki for their Open Lab, and working on the launch of Ucreative.tv at UCA in Rochester. Finished the year with a series of house concerts in the UK and the US with Lobelia..
2009 – …which continued into the new year on a trip that included a trip to NAMM, a masterclass at Duquesne University in Pittsburgh and a series of masterclasses in bass, looping and ‘social media for musicians’ in various people’s houses. But I did miss the bass-bash for the first time ever. Back to the UK for more bass masterclasses and other University-based projects around the future of the internet… look out for a new solo album at some point this year!
2010 – the first half was spent looking after our new born baby, but at the age of 6 months, we took him to the US for a 7 week, 6500 mile tour of house concerts, that took us from Brooklyn to Milwaukee, Massachusetts to Lake Charles Louisiana, via Texas, Tennessee and Ohio. Lo and I recorded a live album on the tour, featuring Todd Reynolds and Neil Alexander, and while in Louisiana I recorded TWO duo albums with Trip Wamsley, released in September. The end of the year featured a sold out London gig with Michael Manring, and speaking engagements in the UK and Berlin at grass roots music industry conferences. I also released another live album, celebrating the 10th anniversary of my debut album coming out.
2011 – first half of the year was focussed on getting my first new studio album in 5 years finished. 11 Reasons Why 3 Is Greater Than Everything was released and followed by a 2 month, 8000 mile US tour, which included shows with Julie Slick, Trip Wamsley, Tiger Darrow, Steven Guerrero, Darren Michaels, Neil Alexander, Trevor Exter and Catherine Marie Charlton. The trip also included me guest-performing at Victor Wooten’s Music-Nature Camp, teaching a bass masterclass in Virginia, and Lobelia and I being the only overseas musicians to be booked to play at the first Wild Goose festival. Oh, and  I also co-produced, mixed and mastered Lobelia’s new record, Beautifully Undone. We started selling our music on USB Stick, which has proved v. popular. A move to Birmingham in the late summer promises all kinds of new opportunities.
2012 – the year started with the release of Believe In Peace, an all-improv solo record, recorded in Minneapolis. January continued with a return visit to NAMM, 12 shows in 12 days including duo shows with Julie Slick, Michael Manring and Daniel Berkman, a recording session with Steve Uccello and a playing-and-speaking gig at Stanford uni, as well as a masterclass at LA Music Academy. The shows with Julie, Michael and Daniel were all recorded, so mixing and mastering work on those took up a lot of the following months, as well as recording for Californian singer/songwriter Artemis. May saw the relaunch of Beyond Bass Camp, and the remastering of 11 Reasons… 2012 also saw the formation of #ToryCore – a project that coupled the evil words of the Tory govt with twisted avant garde metal. One of my favourite ever musical projects.
2013 – started with NAMM and another 8 shows with Daniel Berkman, and this time Artemis joined us on vocals at every gig. It was one of the most amazing musical experiences of my life to play with them both. Which is why a large chunk of the year was taken up mixing, mastering and releasing EVERY show we’d done up to that point. All 10 of ‘em. Went out to Frankfurt to the Musikmesse, more ToryCore shows & a few more gigs with Alvin Stardust depping for his regular bassist. Started teaching at Kidderminster College, and ended the year with a lovely joint tour with one of my favourite bassists – Yolanda Charles, and with a duo show with Andy Edwards on drums.
2014 – Another NAMM trip, 11 wonderful shows with Daniel and Artemis (part of a run of 14 shows in 13 days for me!). Just before NAMM I was invited to speak at the Microsoft Social Research Symposium in NYC, which was one of the most brilliant few days of my life. The duo project with Andy Edwards expanded to become ‘Andy, Steve + 1’ and we played a couple of gigs with Julie Slick, made an album with Murphy McCaleb and gigged with Jem Godfrey and Bryan Corbett – we have further projects planned. Played a super-lovely duo show with Briana Corrigan, ex-of The Beautiful South, whose solo work I’ve been a fan of for 20 years. I released a new solo album – What The Mind Thinks, The Heart Transmits. Playing at the London Bass Guitar Show and inviting Jon Thorne to join me on my set led to the release of that as a new album – Diversion. Towards the end of the year, I launched a new subscription service via Bandcamp, with the aim of finding a useful home for the epic amounts of music that I record and want to release…
2015 – NAMM in January, of course, plus a handful of lovely house concert shows with guitar genius Thomas Leeb. Released LEY Lines with Andy Edwards and Phi Yaan-Zek, the first new thing that my subscribers got, which Phi released for everyone else. Did the London Bass Guitar Show again, and had another of my bass heroes Ruth Goller agree to play with me. That was fun. Formed a duo with Divinity Roxx – hip hop, improv, songs, stories, all rolled in. We had a week of playing and did a first gig in Kidderminster. The duo with Jon Thorne was expanded to a trio with Rob Turner, of GoGo Penguin, that band sounds amazing! In September, I release two new solo albums – my first proper solo album releases since 11 Reasons in 2011. A Crack Where The Light Gets In and The Way Home were really well recieved, and got played on Late Junction. In October, I was the cover star on Bass Guitar Magazine, almost certainly the only self-managed, self-releasing, self-everything solo bassist to ever get there without an association with any other artist. Still can’t quite believe it. The mag cover coincided with a mini-tour with Jonas Hellborg – we had a wonderful time playing in Birmingham, London and Leeds, and hope to do a bigger tour ASAP. By the end of the year, I’d released 7 albums for Subscribers, all of which I’m immensely proud of! The year ended with the recording of a second album with Phi and Andy, to be released early in 2016. The year also featured a few more Torycore gigs – a thing that gets better every time we do it, and more vital, sadly.

Current Musical Projects

Solo gigs and recording -::- Duo with Divinity -::- trio with Jon Thorne and Rob Turner -::- trio with Andy Edwards and Phi Yaan-Zek -::- performance duo with painter Poppy Porter  -::-  Torycore.

trivia

favourite artists. – these days, it’s lots of singer/songwriters, and death metal bands. So, alternately, Bruce Cockburn, Cannibal Corpse, Jonatha Brooke, Cattle Decapitation, Joni Mitchell, Job For A Cowboy, Paul Simon, Entombed, Emily Baker, White Empress, The Blue Nile, Soulfly, Nik Kershaw, Ihsahn…

Along side that, a bunch of other things – Hope & Social, Bill Frisell, D’Angelo, David Torn, Let Spin, Michael Manring, DJ Krush, Throwing Muses, Coltrane, Kristin Hersh, 70s Miles, Beauty Pill, Janet Feder, Jon Gomm, Kenny Wheeler, Trish Clowes, Divinity Roxx, Sweet Billy Pilgrim, J Dilla, De La Soul, Terje Rypdal, KT Tunstall, The Pixies, The Cure…

top 10 (or so) favourite(ish) albums

bass influences – Current favourites are Tony Levin, Ruth Goller, Michael Manring, Julie Slick and Matthew Garrison but there are literally hundreds. I suppose, in roughly chronological order, those players that have influenced me the most would be – John Taylor (Duran), Nick Beggs (Kajagoogoo/Iona), Chris Squire (Yes), Simon Gallup (The Cure), Pino Pallidino (everyone, but especially the D’Angelo stuff), Doug Pinnick (King’s X), Ewan Vernal (Deacon Blue), Steve Swallow, Abraham Laboriel, Jaco Pastorius, Scott LaFaro, Freddie Washington, Bernard Edwards (Chic), Ray Brown, Jonas Hellborg, Family Man Barratt (The Wailers), Verdine White (EW & F), Tommy Simms, Niels-Henning Orsted Pedersen, Jimmy Haslip, Danny Thompson, Eberhard Weber, Mike Rivard, Marc Johnson, Kermitt Driscoll, Mo Foster, Todd Johnson, Doug Wimbish, Yolanda Charles, Trip Wamsley, Divinity,  and loads more.

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Thoughts and Questions on Originality.

April 20th, 2008 · Comments Off on Thoughts and Questions on Originality.

Been having some fantastic conversations with creative people of late on the subject of originality. It’s a subject that seems to lead to wildly different comments and responses from creative people, but rather too often seems to become deified or fetishised to the detriment of the resultant art.

With solo bass being such a niche musical pursuit, I often end up with people thinking that what I do is ‘completely original’, in that listeners outside of the solo bass/looping/etc. cognoscenti have probably never heard anyone doing anything quite like what I’m doing before. It would be very easy for me to claim that I came up with the whole idea and convince people – at least in the moment – that I’m some kind of pioneer in a way that I’m not.

But, it’s also worth noting that some of what I do has been described as ‘pioneering’ and even folks within the ‘scenes’ from which I draw most of my influence have recognised bits of it as being in some way ‘original’.

So what is one to do with that? In both situations the result is that the people involved have another level on which to engage with what I do, but it’s one that holds precious little ‘real’ value.

The first question that comes from this is a) ‘how many records have you ever bought just because the artist was flagged up as ‘original’?’ – and part b) of that question is: of those, how many did you stick with just because it was ‘original’?

The answer to the first bit is probably – if you’re an early adopter and enthusiast like me – ‘a few’. There are a few things I’ve checked out (though these days more via downloads/myspace etc.) that I’ve being pointed to because the persons approach to music making was in some way novel. However, it’s the second half that concerns us – Long term engagement with an artist’s output is based on quality, value and integrity, not gimmick.

This is something that we’re all too aware of when it comes to the marketing aspect of what we do – trying to rebrand dogturds as caviar isn’t going to make people enjoy the taste of dogturds – but originality is trickier because it’s a) less easy to quantify and b) it feels like an artistic consideration first and not a marketing gimmick.

So, here’s the question that will help you to gauge your own reaction to concepts of originality – if everyone in the world did things the way you do, would what you do still have value? In otherwords, when your schtick ceases to be a schtick and just becomes a creative model like ‘being in a band’ or ‘taking photographs’, what is the innate value in the way your story informs the output?

For me, it becomes this – if all the world were solo bassists, would my music as a solo bassist still be worth anything? Or, to frame it in now, ‘what’s the value of what I do to an audience saturated with looped solo bassists?’ This last question is a key one when it comes to putting on ‘branded’ gigs – if I put on a solo bass night, does it water down my brand to the detriment of people’s perception of how ‘original’ I am, or does it just remove the ‘originality/novelty’ element from how they engage with it, and cut to the storytelling?

The reality for me is, as I’ve been telling my students for years, it’s way more important to be ‘good’ than it is to be ‘original’ – a whole load of the willfully obscure experiments that one can end up with when looking for a ‘new sound’ are things that other people have tried and dismissed before inflicting them on an audience.

Influence seems to be the dirty word in so many discussions about originality. The equation seems to go thusly –

Being original is key to my success, therefor I mustn’t experience anyone else’s art that may shape what I do in an overt way because if I hear them, I’ll want to sound like them, and that will ruin my USP (unique selling point), and I’ll be finished as an artist. So as a result, I’ll live my life in seclusion from talented people operating in the same field as me.

This, dear bloglings, is what’s known in the trade as UTTER BOLLOCKS. I’ve seen a few people’s musical paths really messed up due to their phobia of influence. I’ve seen people torture themselves when another band came up with a title similar to the one they wanted for their next album! It’s crippling creatively, but more than that it bears no relation at all to how we relate to art on any non-superficial level.

So from my observation of my own and other people’s reactions to these questions, here are a few thoughts on the creative process as it relates to originality and influence:

  • We are all aggregators: or as Bono put it (possibly quoting someone else) ‘Every artist is a cannibal’. Very very little in the development and progress of human existence has appeared in an intellectual vacuum. Our progress on a macro and micro level is way more often than not evolutionary rather than eureka-moment-driven. We take in our observations of what’s going on around us, filter them through eachother, through the world as we see it, through a complex-but-contained set of experiences and ever-growing opinions and tastes, and decide what to do, what to create, how to create, how to tell our story. Those Eureka moments that do happen are too random to be factorable in steering our creative path. What influences we choose to subject ourselves to is something we’re very much in control of.
  • Influence is influence, whether the influence is from within your own discipline or outside: If I stopped listening to all music, I’d still be shaped in my music making by politics, art, comedy, love, life, illness, nature etc… Everything I do as a musician is shaped by influences, millions of them. Influences won’t negatively impact my art, only unhealthy obsessions will.
  • The problem isn’t influence/no influence, it’s self-awareness or the lack-thereof: People who make great music in isolation won’t suddenly start making crap derivative music if they open themselves up to influence, and likewise people who are so unable to figure out what they want that they just ape someone else’s process to the point of plagarism aren’t suddenly going to discover their creative focus by not listening to their main influences. The problem with obsession is bigger and more fundamental than whether or not your music sounds like another band.
  • Influence is like a diet – it’s the mixture and balance that keeps us healthy: Obsession is not a healthy state to be in. Like eating only potato, or drinking nothing but tea, listening to one artist is going to mess you up. I have for a long time viewed my music listening as a diet, and as such cherish my music listening time like a meal. I avoid junk-food, and crave sumptuous filling meals that meet my dietary requirements. I don’t like eating the same thing day after day, and definitely enjoy the effects of seasonal variation.
  • Style is a medium, not a message – how you say something IS important. Vitally so. But talking shit with a soothing voice is still talking shit.
  • Speaking someone else’s language doesn’t make you think like them, it just makes you able to communicate with the same people they communicate with – this blog doesn’t come across as derivative just because it’s in English. None of us trawl the interwebs looking for ‘new languages’ just because they’re new. Language is there to communicate ideas.
  • Storytelling is an artform that exploits shared history and narrative form: If you’re telling your story through music, things that are familiar have a different resonance from things that are completley alien to both artist and listener. This is one of the reasons why so many creative musicians still find so much to stay within the confines of ‘blues’ – despite the restrictions of the form, there’s still so much great original music that’s coming out that is blues-based and blues-influenced. The language, imagery and resonance of the blues still provides a channel for so many people’s unique stories.
  • the quest to be original might actively prevent you from soundtracking your world: If I attempted to do away with my influences, most of the stuff that makes my music important to me would vanish; the melodic forms, the chord progressions derived from folk, pop and jazz idioms, the phrasing that I’ve absorbed from Joni Mitchell, Bill Frisell or Michael Manring, the bass techniques that I’ve nicked from Trip Wamsley or Victor Wooten. What makes me sound like me is the combination of everything that goes into my music. I throw it all into the mixing pot, and out comes my music. I practice to learn more about how to channel the feelings and emotions that those independent influences bring out in me, and look to find the right amount and blend of ingredients to make me feel the way the combination of all of them makes me feel.

So, where does all this leave me? Well, right now, I’m working on a new album, or at least, I’m getting ideas together to start working on a new album. Some of that involves working out what’s physically possible with the Looperlative, but a lot of it is working out what I want to say and how best to say it. So I’m putting myself on a fairly strict diet. A diet that will contain a whole range of music that generates the kind of response in me that I want from my own music. I’ll be listening to a lot of The Blue Nile, Joni Mitchell, Eric Roche, Rosie Thomas, Theo Travis, Alan Pasqua, Nels Cline, Bill Frisell, and then a whole bunch of extreme stuff in as many directions as I can to help me push back the walls that define the stylistic parameters of what I’ve done up until now.

And how I deal with notions of Originality and their value or otherwise impacts every minute of my practice time – do I get frustrated when I play something and it reminds me of some other musician, or do I use that as a model for saying something in their language? Do I get fixated with listening to other solo bassists because I am one, or do I realise that solo bass is in the grand scheme of things nothing to do with whether my music is any good or not, and look at developing the component parts of my musical narrative via influences that are best at those bits – for example, looking to singers for melodic influence, pianists for harmony, and classical guitarists for phrasing and shaping chord/melody ideas?

The end result of this is whether or not you hear those influences, the music is 100% me. It might be a different angle on me that hasn’t come out in other ways before. It might be me as expressed through the playing of other musicians on music that I’ve written for them, but it will be a combination of all the various influences that make me want to do what I do, and will at the same time be both entirely derivative and completely original.

Tags: bass ideas · Musing on Music · tips for musicians

Video Blog Beta version 0.01

March 2nd, 2008 · 3 Comments

So I’m dipping my toe into the world of video blogging – here’s the beta version, with me trying the camera and audio out on my lappy, and talking a little bit about some geeky Looperlative stuff… enjoy! :o)

Tags: cool links · Music News · New Music Strategies

Michael Manring and I on video…

February 16th, 2008 · Comments Off on Michael Manring and I on video…

Here’s another video from the gig in Santa Cruz – this one is of Michael Manring and I. It’s the second half of a REALLY long improv, and goes through about 5 or 6 big changes of direction, all seemlessly transitioned, thanks to the magic of the Looperlative.

Michael and I have been playing together for about 7 years, touring in England or California. We’ve never played together not on stage, and have only once or twice even vaguely discussed what we were going to do before a song, and that was usually because there was some hidden comedy element that one of us had come up with… We just get on stage, smile and start playing, and see where the muse takes us. It’s proper ‘pan-idiomatic’ improv (thanks to David Torn for the description) – it goes through any genre or idiom of music that we choose to steer it, from folk to metal, avante garde to funk, minimalist to contrapuntal neo-fugues…

Anway, here’s the video – it’s a lot of fun, but sounds pretty muddled on laptop speakers. Break out the headphones, or plug into a hifi to get some idea of what we were actually doing!

Tags: cool links · Music News

Traveling with music gear – prepare for the worst!

February 3rd, 2008 · Comments Off on Traveling with music gear – prepare for the worst!

One of the favourite points of discussion amongst touring musicians is the whole twisted world of planes and instruments. From baggage limits to carry-on details, plane-side checking of bags, to buying extra seats for cellos, there are a million different takes on it, thanks to airline policy being so utterly baffling most of the time.

For years, I travelled everywhere with my bass in a standard lightweight gig-bag, and took it onto the plane. I even managed to get my bass onto Ryanair flights, but smiling, looking horrified if they suggested checking it, and in one instance, having a friend hold it while I checked in my luggage, but then taking it with me through the screening thing…

then a couple of years ago things started to tighten up, initially, i think, due to fuel price increases (and the ensuing panick about plane weight) and then it all went nuts after the london bombing (it had actually settled down a lot after Sept 11th, only to be reignited by London).

At that point, I switched to a foam bass case – I serendipitously lucked into a really nice lightweight case when a student of mine wanted me to help him sell his bass, which I did on the condition that I could keep the foam case and sell it with a gig bag instead… So I had that for a couple of years, and a great case it was too.

Then last year at NAMM, I picked up an InCase gig-bag – it’s a backpack style gig-bag, with shoulder and waist straps, but is more than padded enough to go in the hold. Since then I’ve been checking my bass in the hold, but carrying my rack-gear in a carry-on suitcase, and it’s proved to be pretty effective – no damage at all to my bass since I started doing it, and the case itself is holding up really well too.

Effective, that is, until flying back from California to Ohio, and the plane being completely full, so they checked my carry-on suitcase in the hold, and not via the usual ‘pick it up on the gangway’ method, but actually sending it through via checked baggage to my destination.

Because it was intended as hand luggage, I hadn’t packed the stuff in it all that well, and was pretty horrified by the idea of them checking it. I kicked up a fuss, told them what the contents were worth, but after a half-hearted attempt to find space in the plane, my bag was taken and checked.

I got off lightly, really – at the other end there were some marks on the faceplates of both the Looperlatives, but all the gear in it works fine.

It could’ve been a lot worse. A LOT worse. So what’s the moral of the story? Prepare for the worst. That’s part of the reason I started checking my basses in the first place – just couldn’t risk them putting a gig bag in the hold again. But now I need to do the same with my carry-on bag. Wrap the gear in clothes or towels, pack everything tight so it doesn’t rattle, and make sure that your travel gear is as SMALL AS IT CAN BE. I have a friend from California who toured Europe a couple of years ago, and got stung with a MASSIVE baggage overweight fee on the way from Sweden to Scotland… The worst I’ve had is about £30 on the way from London to Italy, back when I was trying to carry two Echoplexes in my bag (those things weighed a tonne!)… There are loads of bits of gear I’d dearly love to check out and use, but I stay away from as I don’t want my rig to become non-portable. and portable means ‘can fly with it on a cheap-ass airline’.

Anyway, for reference, if you’re flying in Europe, Easyjet have a ‘no weight limit on hand baggage within reason’ thing going on – if your bag fits the size restriction, they let you take it on. I think it’s because it saves them money on ground staff dealing with checked luggage, but it’s great for us, as you can pack the heavy fragile shit into your hand luggage. No such generosities from Ryanair, who have very tight weight limits.

Within the US, limits are generally much more generous than in Europe, but it’s definitely worth checking on policies, and PREPARE FOR THE WORST.

Also, for the americans reading this, you may well find that trains in Europe work out cheaper and easier than planes – there are no baggage weight limits (though if you turned up with 15 basses and a couple of ampeg stacks, you’ll probably get stopped!), and your gear stays near you. Look into Eurail passes for touring – it’s a great way to get to see the continent, and you aren’t penalised for changing your travel plans if a gig gets cancelled or swapped like you would be if you’d booked it all by plane…

Tags: tips for musicians · travel

California part II

January 27th, 2008 · Comments Off on California part II

NAMM was over as soon as it began. It was definitely one of my favouritest NAMM shows ever. Getting to play all the Looperlative demos (and a Modulus demo) with Lo. and getting to hang out and play a lot with Claudio was just great. Having set times to play at Looperlative made the days much easier to plan, and thanks to a food intolerance, we didn’t make any trips over to Subway (about a 45 minute round trip), so stayed nearer the convention centre for food and coffee, thus giving us more time on the show floor.

As usual, the magic of NAMM was in the lovely peoples – the rest of it is 100,000 music gear makers and sellers lying to each other for a weekend to the atonal accompaniment of slap bass, poorly executed paradiddles and 80s guitar shredding. Thankfully, in 10 years of visiting NAMM, I’ve accumulated a circle of friends and acquaintances so lovely and so numerous that there were quite a few I didn’t get to see this year, or saw for such a brief time that it was actually more frustrating than not seeing them at all! So for those of you that I missed, I’m REALLY sorry. Hopefully we’ll be out in CA in the summer for some stuff – watch this space…

It was a really great NAMM for Looperlative, partly because most of the ‘competition’ were conspicuously absent from the show, but largely just because in its third NAMM show, the product has proved itself, there’s a solid user base who swear by it, Bob’s proved he can do the customer service and support required for a product in that market and price range and a lot of people are realising that to get a dedicated laptop looping set up that’s stable enough for stage usage, fast enough for low latency audio, and especially if you want to use it for processing your sound too, costs a heck of a lot of money. The software part of it may be a free download, but trying to run a looper on a laptop alongside all your other stuff and expect it to not crap out on you on tour is asking a heck of a lot from your gear… 2008 could end up being an amazing year for Looperlative…

In other gear news, Accugroove launched a new amp, that sounded great, and certainly bodes well for the hopefully-finally-on-the-way powered cabinets…

From NAMM, we spent a day in and around LA with Claudio and Alex Machacek – who inevitably found that had hundreds of friends and musical acquaintances in common. Alex gave us a copy of his new album, Improvision, a trio record with Matthew Garrison and Jeff Sipe. Really amazing stuff.

Then it was the long drive north to Oakland for a couple of days with Michael Manring, before our last gig of the tour at Don Quixote’s in Felton, near Santa Cruz. Things were looking really great attendance-wise before the show – threads on discussion boards with folks arranging to meet up at the show. Then the weather went to shit, and a snow and ice warning quite understandably curtailed the travel plans of quite a few people. And yet we still managed to pull a decent crowd, and played some of the most satisfying music I’ve been a part of in ages. I started the show solo, then Lo. joined me for a duo set, then after the break was Michael solo, then he and I duo, and finally a trio improv piece. The improv stuff both duo and trio felt really really great, and I’m really looking forward to seeing the video and hearing the recordings that were taken on the night… we’ll see if there’s anything useable in there… Also worth a mention is that the soundman at the venue, a guy called Lake, was one of the finest club engineers we’d ever worked with. A really friendly guy, with great working gear, and just fantastic sound! It was one of the best sounds I’ve ever heard Michael have, and the on-stage sound was amazing too… it makes all the difference.

And then we flew back to Ohio, and both Lo and I fell ill. Proper ill. Fever and shaking ill. Yesterday was a wash-out – having hardly slept on an overnight flight, I slept pretty much all day, and then all night too. Feeling much better today.

So tomorrow we drive to New York, and I fly home on Wednesday – feel free to email me now if you want to sort out teaching stuff for when I’m back! :o) It’s time to start booking some UK gigs now too.

Tags: Uncategorized

half way through NAMM

January 19th, 2008 · Comments Off on half way through NAMM

We’re half-way through NAMM, and having lots of fun. Despite not being booked for the Bass Bash before the show, we got a phonecall at 5pm on Thursday asking if we could play at 8pm. A quick dash back to where we’re staying to collect a mic and a mixer, and we were there, maintaining my record of having played at EVERY NAMM bass bash since it started about 8 years ago, which is bizarre, but strangely satisfying, despite not really meaning anything other than I get in people’s way, and that Californians like to hear an english bloke speaking too fast for them to understand then laughing at himself…

The demos for Looperlative have gone great – Lo and I have just been playing a bunch of songs, and sometimes explaining what we’re doing, or just leaving Looperlative Bob to do that…

Today (saturday) is always the hardest day of NAMM – too many ‘guests’ there who have no business to do, but just want to ooh and ahh at members of Kiss and Quiet Riot hanging around signing stuff…

NAMM, as mentioned in previous years, is a mixture of 99% nonsense, but 1% amazingness. Many of my favouritest peoples in the world are here, some amazing music, some really inspiring creative types and of course a whole load of music industry contacts that are good to maintain.

I’ll write a fuller report soon, but now have to head back into the maelstrom, and get my loop on, y’all…

Tags: Music News