[superblonde]

I hope you saw my super uber cool progress video of ex 1 😀

 

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[superblonde]

When you guys are doing improvisation do you switch to a different pickup, like typically you’d be using the bridge or the mixed setting and then switch to the neck-only pickup position then back again?   And if you switch pickups, do you change picking position to go along with this (closer to one pickup or the other)?

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[superblonde]

Yup, binaural audio makes such a huge difference.  Mic placement (& directionality) is super important.  That’s what my bootlegging experience tells me.  There’s an old AV rule that says: never record audio with the camera’s built-in mic.  There’s good reasons for the rule.  Those built-in mic’s sound horrible in almost every consumer camera ever made (stereo or not).   Even if the mic’s and A/D’s are great, the position inside the camera is universally not – too much noise coupled from the camera itself, digital noise, etc.  Also prosumer cameras rarely have audio level controls (maybe always on AGC) because the manufacturers like to use that feature to separate the prosumer’s from the professionals (and charge $500 more for that ability).  So even on a camera with an external audio-in jack (rare), the noise floor might be lame, and the AGC would kill dynamics.  The Sony action camera has been praised for it’s audio though, it’s the only one with stereo mic’s so perhaps they’re trying to one-up all the other action cams by including really good onboard audio and audio recording features, perhaps even on the external audio input jack.  I dunno if there’s a pad on the internal mic’s so maybe they’ll get saturated, regardless external mic’s could be more predictable.  I have an old Sony video tape camera which has stunning stereo audio from internal mic’s and amazing dynamic range, so it is possible, just unlikely in general, the performance was only in that particular camera model.

The gopro’s are known for the bad internal mic, so the audio front end is probably not great even with an external mic, since the camera is just not made for good audio reproduction at all.   I guess I’m saying, in general, use a separate audio recorder and a separate video recorder unless the camera’s audio has proven in that environment to be of good quality.  The result on the video cam will be good enough for sync’ing to the audio track from a separate device and then just delete it’s audio.

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[superblonde]

At several of the small club performances I’ve gone to recently, I saw the band set up one or even two gopro’s to video themselves live.  Maybe for use in a home movie, or maybe to review & critique later.   I think recording video is a good idea for practicing too.  Probably best to use a separate audio recorder.  Altho the gopro can support an external mic I am not sure it is stereo on all models or good quality audio.  The benefit of the action cam like gopro instead of just using someone’s iPhone is that the wide angle lens can get everyone in.  I believe only the Sony action cam has stereo mic’s.

 

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[superblonde]

I’m gonna try calling local guitar stores who also have instruction, to maybe find similar guitar students.  Sounds like I might have to encourage other students to give it a try tho, if they aren’t already looking to play.   I notice open mic nights haven’t been mentioned yet, maybe for good reason ;-D  Hearing scream-o in a hipster coffee shop over a hot chai tea might not be the right combination.    I found a local web site that supposedly lists the open mic nights in the county (both cafe and bars).  So that might be a place to start looking for some peeps?  Here is a site that lists many different cities, I dunno how reliable the listings are, https://www.openmic.us/

 

 

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[superblonde]

I like the analogy of the old southern blues men.  The story goes, that in the old school blues times, one blues guy would be playing his thing on a street corner in town, with another blues player on a different corner, even right across the diagonal corner of the intersection.   People walking by would stop to listen to the guy they thought was the best.  These guys would try to steal the other player’s fans.  Whatever riff one guy was playing that was popular, the other guy would try to one-up it or whatever, or play louder, to steal everyone over to his corner, so he’d have more fans for the day and collect more tips.

I dunno where this story comes from, I heard it somewhere…

 

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[superblonde]

I just ran across a detailed version of the following amazing story, of the audience feeding energy back in a live performance and the band feeding it back again to create what’s considered one of the best live albums of all time, in a different music genre.  What is more amazing is the idea that this legendary band was so entranced by this single feedback of energy to their performance that it may have contributed to creatively turning the band around to make fresh new albums.  The implication is clear:  let’s mosh, peoples.  Oh and bring cute blondes.

The final piece from Ellington that
we’ll listen to, is an extended piece that wasn’t intended to be as long as
it ended up in this live performance.
In 1956, Ellington and his band were playing on a Saturday night at the
Newport Jazz Festival near the end of the evening.
The band had been going through a slump before this gig with fewer
engagements in less prestigious venues.
Ellington called the song “Diminuendo and Crescendo In Blue.” In the middle
of the song, tenor saxophonist Paul Gonsalves began to play a solo over
the blues form.
As he started to play his improvisation, a platinum blonde in a
black dress got up in one of the front boxes and began to dance ecstatically.
This provoked a wave of cheering from the crowd, and people began to press
towards the stage.
Gonsalves and the rhythm section continued to play, and the electrified
crowd returned waves of cheering to the bandstand, with the band and the
crowd each encouraging the other to new heights.
Before it was over, Gonsalves had played 27 choruses of the blues, and
the woman became known as “the blonde who launched 7,000 cheers.”
Fortunately, the performance was recorded on the album Ellington at
Newport, which captured one of the most exciting live jazz performances
in jazz history.

— from ‘Jazz Appreciation by Jeff Hellmer edX UTAustinX UT.8.02x’

Duke Ellington at Newport 1956

When Ellington announced there was going to be an interval by Paul
Gonsalves, he didn’t know that the interval was going to create such a
stir and be as long or as remarkable as it ended up.
So next we’ll hear the first of Paul Gonsalves’s 27 choruses.
He starts simply.
While he didn’t know he was going to play 27 choruses, he knew this would
be somewhat of a lengthy solo.
Here’s the beginning of the solo.
[MUSIC – PAUL GONSALVES SOLO]
The rhythm section is already hitting a great groove and it’s going to
inspire a lot of this cheering that we’re going to hear, and a lot of the
rush to the stage.
The first wave of cheering begins around five choruses later.
This must have been around the time that the platinum
blonde got up to dance.
[MUSIC – PAUL GONSALVES SOLO]

You might hear Ellington shouting out, encouraging the group at that point.
So shortly after that, the cheers intensify even more.
Gonsalves responds to the cheers by moving into the upper register and
digging into a riff.
[MUSIC – PAUL GONSALVES SOLO]
Our next excerpt is near the end of the solo.
There’s still more cheering, and Gonsalves starts his final chorus with
a long high note.
[MUSIC – PAUL GONSALVES SOLO]
Gonsalves’s solo is finished now, and the band is barrelling
down the home stretch.
At the very end, the trumpet high-note specialist, Cat
Anderson, we hear him again.
He plays some more stratospheric notes over the entire band.
[MUSIC – DUKE ELLINGTON, “DIMINUENDO AND CRESCENDO IN BLUE”]

And the cheering went on long after that.
That’s one of the most exciting live jazz performances
ever caught on record.
The record ended up being one of Ellington’s biggest selling albums,
and the band had a resurgence in the number and quality of
their gigs after this.
Ellington summed it up best by what he frequently said in the years after
this performance: “I was born in Newport in 1956.”
— from ‘Jazz Appreciation by Jeff Hellmer edX UTAustinX UT.8.02x’

 

The blonde:

 Elaine Anderson – the girl who launched seven thousand cheers at Newport, 1956

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[superblonde]

Circus of Power tabs..?  https://home.earthlink.net/~circusofpower1/

..I’ll have to check these out later to see if they’re easy enough.

 

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[superblonde]

Ditto that.  Here’s two screenshots, first with quotes (you’re in every top 10 hit in fact), the second without quotes.

Either that means no one broaches this subject.. or no one else calls this topic ‘adult band’ 😀

 

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

Attachments:

1. 

   Picture-10.png
   

2. 

   Picture-11.png
   

[superblonde]

Wow, Circus of Power.  That’s a band name I haven’t heard in forever, yea, really solid metal acid heavy blues whatever ya wanna call it rock.  I remember wanting to buy their album but not being able to remember the name and going into Tower Records and saying something like “Umm I’m looking for this band with this song that is like, um, kinda like rock and blues but it is heavier, like chug chug chug”   LOL  never found it..

Grondak – I’m still working on this one and hoped to have a new recording of it by now, but..   anyway I found a GP6 tab online but it is a bit wrong in some spots.  Even the bend I’m not sure is correct.  Also from what I understand, John Christ uses a lot of harmonic picking which I haven’t gotten into yet – my version won’t sound anywhere near the same until I do that too.  I am still playing this song every day though.   I will post a pic of the tab that I think should be correct, when I re-record this cover.

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[superblonde]

Regarding finding others to play with, what are some simple ideas to separate the wheat from the chaff.  What would be the deal breakers for knowing sooner rather than later, that it won’t work out.  (Your own story seems more like: join up then steer the direction for the mates, replace players as needed. compared to, find the mates who are on the same page first.)   I would guess different places have their own interpersonal characteristics.  In socal, one downfall has got to be the flakiness factor, so maybe one consideration would be, if there’s a bunch of rescheduling to even show up for a first meeting, it’s maybe not the right person.  I can think of important questions to ask if interviewing a person professionally for a business but not many pointed questions for a band mate.  Besides trying to feel out the obvious “is there a cool vibe here” type thing.  I guess a convo about priorities and goals or expected contributions?  Maybe that might put off some good people.  As you’ve said, maybe a lot more emphasis needs to be placed on the “find the right mates”.  Considering that players will even pick up & move to a different state in order to join, if they feel the vibe is right..  One point that seems to be mentioned in the ads I’ve seen is for required sharing of rehearsal space costs, so, financial disagreements being what they are, maybe that’s best brought up sooner?  Another difference for socal – where no one has big backyards or spare rehearsal basements.  (Hmm wait a minute, maybe the grateful dad’s empty nester syndrome with it’s empty kid bedroom can finally be put to good use?)

It’s so amazing that all these great bands started out with two people who just happened to be random neighbors or happenstance friends.  Megadeth for example.  (Not to presume an ambition to be the next Megadeth or whatever, this is just a good, well known example.  When and where would Mustaine have ended up without the other Dave?)   Or The White Stripes, basically a random accident.   Almost as if the interpersonal chemistry amongst band mates is more important than the ability to write & play music itself.   Like Nirvana and Krist Novoselic.  There’s so many bands like this to name.

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[superblonde]

One new song per week, yikes, it’s taken me two solid months to learn just three songs not even perfectly yet, and that’s not even touching the solo’s.

 

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[superblonde]

I wonder how technology might help in some cases with busy schedules. Like for special cases, joining in remotely in via skype or facetime call? Seems like it might be possible with the right setup with a good camera (or iPhone/iPad) and good audio ins/outs?

Anyone ever tried playing music over a google hangout or does the delay or quality make it impossible?

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[superblonde]

A lot of what you’ve said is why I kind of imagined busking by myself for the itch to play live, with some kind of backing track/drum machine. no band, no interpersonal conflicts, no playing at bars with a drunk audience. Metalj’s comment too is just crazy and I believe it “I was told I can’t play Metallica and nirvana as if someone would freak out.” I dunno maybe you could just go only with your drummer buddy as a 2 piece. It worked amazingly well for the Black Keys and White Stripes, altho that’s delta blues. I dunno if it could work with Metal and especially instrumental without a singer (maybe with the right backing I suppose, load up an ipad).. it would definitely be unique.. a metal version of The Ventures? There’s a performer who plays solo twice a week at restaurant-bars here with his particular style, he dj’s pop/dance songs on a mixing console (instrumental versions) and sings cover lyrics over top of them – he’s like a singing dj, like a professional karaoke act. You’d be the opposite of that.. maybe it wouldn’t work. Did you ask if your drummer wants to sing? ;-D

Warrant’s Undertow

Warrant’s grunge era! Didnt remember it until I looked it up. Good song. Makes you say, “This is who? Warrant? Joking, right?” LOL

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[superblonde]

You could pitch your singer (no pun intended) who you say is kind of dominating the song choices, and widen your demographic for a new one. Every year they make new 17 year olds in high schools, a few of which are rocker dudes who like Blue October. I’m surprised at seeing some ads on craigslist where 16 year old “vocalist” dudes claim to to have been “playing” scream-o for years. Although from your videos, your singer is a good performer. And you’d have to give the young kid a ride to rehearsal cause he ain’t got wheels LOL 😀 I mean come on, Everclear? I’ll grudgingly learn some KISS, at least they wear black and look moderately manly, and at least Journey had good hair. Everclear is like watered down alt emo without the energy to even be angry, you might as well be playing Avril Lavigne, you’d get more chicks out 😀 Yeah, the singer has gotta go! 😮

I guess if a band is sort of like a marriage then it’s important to lay out the law of the land to the other half up front: “No weak sauce emo alt rock allowed!”

Building a following requires playing mainstream music, which doesn’t excite me.

The above is not right.. there’s a couple local bands I follow which are real niche and definitely not mainstream – they have quite a regular and large following. The artists even earn money (it’s their full time job). Even in small cities it seems to work it just takes dedication (regular performances) and time to build..

There’s no restrictions on what to play if you really don’t want to get paid, is there? It’s like you’re setting this limit on yourself. I mean, you could play random places during the day and rock any type of obscure song within the noise limits if you want and see who shows up. Start a mailing list or something. It would probably just be your family & coworkers I suppose for a while until you get a small following. If the singer only wants to play pop, then he must have the idea of becoming popular (& perhaps getting paid) with people singing along, etc – none of which you care about – either that or he just quite simply has really bad taste. Hah 😀 There are way better bands to cover than Everclear for that type of sound (good rockabilly or punk bands come to mind).

I'm an intermediate student of Metal Method. I play seitannic heavy metal. All Kale Seitan! ♯ ♮ ♭ ø ° Δ ♩ ♪ ♫ ♬
And on the Seventh Day, Mustaine said: ∇ ⨯ E = - ∂B / ∂t ; and there was Thrash; and it had a ♭3; and it was good.

[Author]

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