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  1. #251

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    Which professors?

    I'd shank somebody for Batio's chops, but he's not a jazz player. Which is fine, I'm not a shredder. Chicago has a bunch of really good JAZZ players, Doesn't make them better than Batio, but if Batio's winning "jazz" awards I question who's giving them.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

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  3. #252

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    Quote Originally Posted by EOE View Post
    So you are saying the Jazz Professors in Chicago did not know what they are doing when they gave MIB the best jazz solo award.
    No, it is not what I'm saying.
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  4. #253

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    One area where backing tracks are viable is in clinics and instruction. I said way back, probably on page 1, or another thread, that I was teaching with Shawn Lane back in the day and he used backing tracks of his home band playing some Pakistani rock fusion. There's no way he would've been able to get a pick up band to play that stuff on the fly. And it was incredible.

    I think it's completely fine to do a clinic and demonstrate playing with backing tracks. Not all guitar playing, or even jazz guitar playing, is solo guitar.

  5. #254

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    Quote Originally Posted by henryrobinett View Post

    I think it's completely fine to do a clinic and demonstrate playing with backing tracks. Not all guitar playing, or even jazz guitar playing, is solo guitar.
    I would completely agree. Heck, that famous Pat Metheny video, playing with a metronome! (and swinging his ass off)
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  6. #255

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    I like the creative process of making my own backing tracks, which I use in
    situations such as senior facilities and hospitals, which often have either low
    or no budgets. Creating tracks also is good practice for building arranging chops,
    and a library of good-sounding tracks is another source of income; I sell mine to
    various local singers and hornplayers; having most of the music in MIDI enables one
    to customize the keys, and I generally play bass and rhythm guitar on the tracks
    for a more "live" feel, which means redoing those in new keys, but it's easy.

    I do prefer to have one other live musician on the backing track gigs, since the
    interplay is a key component of any music.

    I'd much rather be playing out with tracks than teaching some lazy 10-year-old the latest
    metal riffs. My tracks have allowed me to retire from teaching and give real pleasure to
    people who need it. And I play with live groups several times a week as well.

    Beats the hell out of working.

  7. #256

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    I really enjoyed this thread, despite it clearly hijacking the OP. Interesting to read everyone's opinion on the matter.

    I've never felt as gross as I did after experimenting with backing tracks during a busking gig (which was also likely due to my own playing being shit at the time, to be fair).
    demonstrates that there is ALWAYS a way to creatively accommodate an element of the rhythm section in one's unaccompanied performances. The most interesting art often comes from limitations in the medium.

  8. #257

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    I think you should make your own accompaniment tracks. That way, there's an honesty to the whole thing. With Protools and Reason, or one of the other DAWs, you should be able to loop in a decent-sounding drum track, then a rhythm guitar track, then bass, maybe play a simple organ or synth pad track, then at the gig, you can spontaneously play and sing along. But it's all truly YOU.

  9. #258

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    okay, here's my two cents (probably worth much less than that) ...apologies in advance

    the sheer terror displayed by some of the elitists here are a solid indicator that this is not a bad idea, if not a potentially great idea.

    the nay sayers consistently want to paint this as a scheister who can't play rocking out to some cold sounding 90s muzak in the corner of a senior center... and, this could certainly be that. one could also take the opportunity to make their own library of cool tracks using live tracks (loop loft, i love you) or even interesting electronic sounds ...maybe that's very not-1960's, but, last time I checked, electronics are kind of a standard component of many modern musicians' toolbox.

    with Studio One or Ableton, I could open an arrangement and even dictate that a track loop several different solo sections easily...

    hell, if you're really going for it, book some studio time and good players and play through some arrangements, maybe get a couple different solo sections...bonus points if they chastise you for "stealing future work"

    it might take a lot of work to get that ship ready to sail, but that's the point...

    i've been doing solo loop gigs for a couple years. positive feedback, repeat bookings, decent pay, etc. ...my live sound has been on the jam/jazz/funk side and I mainly play microbreweries, some restaurants, clubs on 'acoustic night' when they want something different (b/c to the club staff you're just 'wednesday') ...but, I have thought that more straight-head jazz w cool BT's could go over well in the right context. I have been in the 'jazz shed' again for a while and would like to expand my rotation to some of the local wineries and other places that aren't quite as crunchy...

    on that note, to anyone who does backing track gigs: if someone has ever come up to you and said 'that's not real jazz' ...i owe you a beer. statistically unlikely, besides rude. honestly, nobody gives a shit about jazz but jazz musicians, let alone 'THE TRUE NATURE OF JAZZ' (lol). the vast majority of people choose their music with as much thought as it takes to decide between pizza hut or dominoes; making music for the approval of your guitar playing peers is a losing game. ...the guitar has become as much of a centerpiece for opinion as a musical tool. most folks who even 'play' are pretty much just into the gear. Sad, but true. In that context, do the opinions of some rigid elitists on a guitar forum even matter?

    Acting like this is some form of heresy is laughable and sad.

    A solo player doing Joe Pass tunes is supposed to define the pinnacle of jazz guitar (don't get me wrong, love chord-melody playing), but a player blowing solos over a track is folly? Nah. It's just aesthetic preference. Authority is a privilege and illusion desired by so many and attained by none...

    "I've managed a K-Mart my whole life and we never, NEVER put electronics next to housewares..." is about what I am hearing.

    If there is mutual enjoyment between you, listeners, and venue...you've done the job.

    hypothetical: let's say i live in buttcrack, indiana and can gig out at some local places...my choices are do the above described cool backing track thing, or, play with Mouthbreather Jr. on keys who wants to do some Kenny G and "I sometimes play outside the church, if the pastor says it's okay" on drums ...I am going with the laptop. I have been in similar situations. Laptop wins every time.

    ...OR, should I stay in the house so as to do my part to maintain the integrity of 'TRUE JAZZ'? hmm...

    Playing with other good players is amazing and there is no substitute for it...when you take a look at who is paying and who is playing though, you have to work with what you have. Also, if this sort of thing tickles your fancy and you can provide nice music for venues in your area...why not?? I don't think anyone's expecting Downbeat to review the gig. Just do your best, do 'you', and be a servant to the music. ...and, don't use Casio-keyboard quality backing tracks

    In the end, personally, I would feel that I had given up more of my soul after teaching and kissing the asses of rich parents and their kids all day for the foreseeable future than I would playing to some tracks for easy money at a swanky joint...

  10. #259

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    IMO, crucial question is not: Is it really Jazz, if backing tracks are used?

    IMO, the real question is: Is it even a gig, if nobody gives a @#$% about music being played?
    Should going to do a gig equal going to work? Should Musician equal "Musical labour provider"?
    IMO, those are important questions.

    It is Jazz if listeners think it is and there's no further discussion, regardless of using backing tracks.


    With due respect to micro breweries, restaurants and wine bars ... and other places where people came for whatever reason except to hear YOU and see YOU playing YOUR music ...
    ... here's some 90's muzak over cold sounding backing tracks ... as used on a real gig, where and when people actually do come to see and hear YOU and YOUR music ... that is where backing tracks have their place ... same tracks used on CD release and elsewhere, because those tracks are the essential ingredient of the music people came to hear and could not care less if the beer is diluted, or whatever ...



    (sorry, I know I already posted, but I just love that gig)

    Oh, one more thing, if CASIO backing is the sound YOU are looking for and think it suits YOUR music fine, YOU should use it, regardless of what some elitists might suggest.
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  11. #260

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    Why let some highly-abstract aesthetic principle intrude on your professional prerogative? Intrusion notwithstanding, 'why', indeed?

    My objection to playing with backing tracks – ‘rigid elitist’ that I am – is not at all on grounds of aesthetics. (On the contrary, I feel energised at the mere idea being on the edge of discovery.)

    It's about valuing and honouring social and cultural traditions – something quite different to what is so colourfully depicted in the ‘Walmart’ reference in the above post.

    Because, to me, the end doesn’t justify the means; what elicits ‘terror’ in this ‘rigid elitist’ are the words “by any means necessary”.

    ...OR, should I stay in the house so as to do my part to maintain the integrity of 'TRUE JAZZ'? hmm..
    The view that this is a purely material and economic conquest also seems very superficial to me. The ‘poor’ musician can be ‘practical and prosaic’ without necessarily becoming the kind of person who doesn’t give a sh*t about values outside the economic or the material.

    I accept that people perceive situations differently (assuming they perceive situations at all).

    This ‘rigid elitist’ perceives a perfectly possible 'middle way'; 'backing tracks' needn't mean the decline, collapse and disappearance of 'TRUE JAZZ' - and using a looper on gigs needn't mean cultural degeneration. (On the other hand, 't might mean exactly that - in which case my two cents of unsolicited advice would be 'talk it over with the pastor at that church in Buttcrack, Arizona'.)

  12. #261

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    What it is or isn't is completely up to the person putting their stuff in the car and going. It's a subjective question with many, many answers.

    Also, in my usage, a 'gig' equates to playing music at a bar or club for people who may or may not be coming to see you; a 'concert' is when folks come to a musical event to see your work specifically.

    (i have a gig with that funk band at the strip club. vs. i am giving a concert of Kanye West songs on the bagpipes at the Royal Theater, tonight...tickets available online...)

    That's the big catch here: none of these questions have single, correct answers. Beyond what it means to you, who cares?

    To set definitions of 'this belongs here and not here' is only creating a self-imposed limitation. If you don't dig it, that's totally cool...but, why define what things should or shouldn't be for other people? (which i am not sure is what you were doing anyhow)

    Being a musical laborer, for example...my answer is a solid "no way"...for someone else, it's just another day at the office. One of the defining moments of my early adult life was 'playing for a living' and wishing i was just back in the kitchen making the damn food.

    The sentiment about whether or not folks are there to see you...once again, this may matter to you, it may not. What about a church organist? They are highly skilled musicians who will only get a speck of appreciation from the folks who hear them play throughout their career (unless you're the lady with the cool show on EWTN). ...most will already know; proper church organists are BAD.ASS. musicians.

    With the gigs I mentioned previously, it was a win in my opinion because people in my area do come to hear my music and watch me play...they also aren't roped into sitting and watching it for 2 hours straight. I am not really trying to create an immersive experience. (a lot of these folks are very stoned, much like original jazz fans hehe) ...they want to come tune in for a few songs, go chat with some friends, try to hit on women, whatever. I am a groovy piece of a cool environment.

    I'm not selling tickets or putting on a show...but, I do get to go out, get paid, play my own tunes and tunes that I have chosen/arranged and it's all instrumental. ...for me, it's a win. For others, this is gonna mean a million things. for me...happy basscadet with tired hands and the constant mental battle quiet enough to take a day off, done.

    Personally, I haven't done a gig like this yet...whether I do remains to be seen. But, I think it's a genuine misstep to dismiss this outright.

  13. #262

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    Quote Originally Posted by Vladan View Post
    IMO, crucial question is not: Is it really Jazz, if backing tracks are used?

    IMO, the real question is: Is it even a gig, if nobody gives a @#$% about music being played?
    Should going to do a gig equal going to work? Should Musician equal "Musical labour provider"?
    IMO, those are important questions.
    Labour seems to have assumed the role and status of religion. I prefer to think of music as an activity, but never as 'work' ( and neither for money nor pleasure alone). Fiat productio et pereat homo - “produce, and let the worker perish!”

  14. #263

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    If you don't dig it, that's totally cool...but, why define what things should or shouldn't be for other people? (which i am not sure is what you were doing anyhow)
    Totalitarianism? No, thanks!

    Regarding playing 'funk/soul' with a looper, I'd love to be capable of doing something along those lines - and I'm hopeful that I soon will - discreetly, but in public- on my weekly solo restaurant gig. (Partly for fun, but partly to practise a particular repertoire so that I'm ready when the chance comes along to play it with a band.)

  15. #264

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    None of this kind of thing interests me as a player. It's kind of dead to me. But some people are into it. Cool.

    I get a bit annoyed when it becomes an expectation that you should be up to speed with all this technology... Loop pedals are enough of an annoyance to be getting on with. And to be honest I'd rather play without one. People go 'ooh do you have a loop pedal' and my heart sinks.

    I do in fact have a loop pedal. But I don't really like the comp for a chorus and then solo over yourself while the sax player nods off kind of thing. It feels... masturbatory....

    But it is possible to do interesting things with a loop, and I see it as a creative thing in itself. It's just not my vibe (although I like it for ambient effects in groups. In bands they are very difficult to use rhythmically for all sorts of interesting reasons.)

    But then you have this trio pedal thing. I just find it a bit ... Naff...

    It's also the thing where someone books two people and expects a full band sound. I get tired of that. But the technology marches on....
    Last edited by christianm77; 11-21-2016 at 10:28 AM.

  16. #265

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    That's all very reasonable as it relates to your personal experience and conduct. I also really appreciate the idea of 'never for money or fun, alone'.

    I personally can appreciate honoring the tradition of jazz as well...I love playing with people for the conversational aspect of things above all; I listen for the same reason, too.

    My life in the past decade has really forced me to think outside the box in order to be able to cling to some form of musical functionality...I was apprehensive for years about gigging with a looper until a couple shows landed in my lap in 2014. I market it as 'live improvisation' too...so, I can't say from experience that I have gone out and done standards or anything...aside from a couple other people in my little suburban area (many of whom i play with regularly), that's as close as it gets to a "jazz" musician making music up on the fly within an hour drive.

    To me, and I may be off...but that's what the cats were doing in the day; it didn't seem like they were trying to embody an aesthetic, they were creating it as a byproduct of their artistic output. ...I digress (big time, heh)

    I don't think I'm doing something so cool...but I really try to 'just do it'. I was a guitar tech for Buzzcocks one summer though, maybe some of the punk attitude rubbed off for the better

    I have fun. Every night has ups and downs. There's always going to be that group of people who sit and watch every note and the majority come and go and enjoy their night.

    Anywho, appreciate the conversation in here (for the most part, hehe) ...and, it was a /k-mart/ reference, fyi jk cheers!

  17. #266

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    Yeah I dunno. I have a friend who's really into Ableton. I think it's all good. If you play music that is good and you are passionate about it will be worthwhile whatever it is and however you make it. I'm just a grumpy jazz bastard.

    As far as: is it jazz? Just put it out there and let people argue about it. Of course most people don't care.

  18. #267

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    Quote Originally Posted by christianm77 View Post
    None of this kind of thing interests me as a player. It's kind of dead to me. But some people are into it. Cool.

    I get a bit annoyed when it becomes an expectation that you should be up to speed with all this technology... Loop pedals are enough of an annoyance to be getting on with. And to be honest I'd rather play without one. People go 'ooh do you have a loop pedal' and my heart sinks.

    I do in fact have a loop pedal. But I don't really like the comp for a chorus and then solo over yourself while the sax player nods off kind of thing. It feels... masturbatory....

    But it is possible to do interesting things with a loop, and I see it as a creative thing in itself. It's just not my vibe (although I like it for ambient effects in groups. In bands they are very difficult to use rhythmically for all sorts of interesting reasons.)

    But then you have this trio pedal thing. I just find it a bit ... Naff...

    It's also the thing where someone books two people and expects a full band sound. I get tired of that. But the technology marches on....

    as time moves on, society needs to learn how to appreciate an apple for an apple, an orange for an orange. ...at my loop pedal gigs, people ask if i sing, beatbox, play radio covers, etc.. /my/ heart sinks. it's a mandala of creation and destruction. ...this exists at every level of the music industry as well and across all styles. i guess that's just people: they want their cake and to eat it with ice cream and a cherry on top (oh, but do you have one of the 'fancy' bowls..?) people are never satisfied.


    BUT, I don't think anyone should be expected to use any type of gear/technology..I don't think it's out of place either (kind of a feeling I got a a few hundred pages back from some folks )

    ...the trio pedal, is that the one with a little drum machine that responds to how you play? ...i just learned what 'naff' means and i think you're spot on.

  19. #268

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    I got a looper last year; I hardly ever use it - and when I do, I don't get the timing of the loop quite right.


    But I'd love to become practised in building up sophisticated loops - or looping a short section 'on the fly' - to be able to pull it off live.

    Because, 'jazz' or no, I do believe that experience could be fun for me, and perhaps also engaging for listeners.

  20. #269

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    RE: loopers/tracks (since it's been a while since this thread has popped up)

    I think it's all about using a looper "artistically." Your hear Frisell or Fripp, or even Metheny's "orchestrion"...that ain't guitareoke.

    But I'll be honest, I see a guy comp some chords for himself to solo over and call jazz, I'm wondering why he couldn't just practice a bit more and do more with less.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  21. #270

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    "I've managed a K-Mart my whole life and we never, NEVER put electronics next to housewares..."
    it was a /k-mart/ reference, fyi jk
    Yes, sorry - not from US (but I've watched King of the Hill*).

    *Oops - that's Megalo Mart:
    Last edited by destinytot; 11-21-2016 at 11:16 AM.

  22. #271

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    I will dare to share...forgive the shit note I hit right at the outset, it takes a few revolutions to cover it up. The rest of the confection was fairly doable. This is what I do at gigs, I do some tunes with just bass, some with both. Lots of different feels but this is a pretty typical improvisation for that I would do at a gig.

    Pardon my definite non-jazzitude (i'm learnin'!)

  23. #272

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    Quote Originally Posted by basscadet View Post
    What it is or isn't is completely up to the person putting their stuff in the car ...
    Exactly. My qestions are not posed for an exact answer or to establish definitions. They are about the attitude. Bah, sorry have to go, maybe I continue at some other time.


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  24. #273

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    Quote Originally Posted by basscadet View Post


    I will dare to share...forgive the shit note I hit right at the outset, it takes a few revolutions to cover it up. The rest of the confection was fairly doable. This is what I do at gigs, I do some tunes with just bass, some with both. Lots of different feels but this is a pretty typical improvisation for that I would do at a gig.

    Pardon my definite non-jazzitude (i'm learnin'!)
    Loved that! Got to go (the 'w*** word' beckons), but I'd love to know how you achieve the bass and the percussion sounds.(Octave pedal and wah-wah?)

  25. #274

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    I use a line 6 M13 for the effects. I didn't loop with anything but delay and the looper itself for the first few years. I feel bad clogging up this thread with a bunch of looping stuff ...but, in a nutshell, I use an Octaver with no dry signal for the bass lines and the percussion is just my hand. I also only did this with bass for a number of years and started working on guitar again about a year and a half ago. ...but, mostly a bit of delay, the rotary effect, reverb and that's it. crappy strings on a mexican strat it's crucial to make an interesting groove that is nice to play over and also has room to build. takes some work, I have good days and bad days...i had twins so there was a good 4 solid years of 'loop if they sleep' and not much gigging.

    i strongly agree though, the loop game needs to be strong or it can go south quickly.

  26. #275

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    Quote Originally Posted by basscadet View Post
    I use a line 6 M13 for the effects. I didn't loop with anything but delay and the looper itself for the first few years. I feel bad clogging up this thread with a bunch of looping stuff ...but, in a nutshell, I use an Octaver with no dry signal for the bass lines and the percussion is just my hand. I also only did this with bass for a number of years and started working on guitar again about a year and a half ago. ...but, mostly a bit of delay, the rotary effect, reverb and that's it. crappy strings on a mexican strat it's crucial to make an interesting groove that is nice to play over and also has room to build. takes some work, I have good days and bad days...i had twins so there was a good 4 solid years of 'loop if they sleep' and not much gigging.

    i strongly agree though, the loop game needs to be strong or it can go south quickly.
    You have taught me one of the tricks of the trade - using that octave pedal to make basslines. Nice tip. Pretty nice atmospheric playing as well. I somehow pictured something a little more mellow, but I was thinking more of a restaurant gig, I guess.

    Thanks.

  27. #276

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    Looping is a culture at this point. You generally have about 1 minute to get all you ideas together. Ed Sheeran comes from that. Kimbra and Kawehi Wight are doing some amazing things with looping.
    Looping is looping. Doesn't matter if you're playing guitar or beat-boxing.

    I have a lot of drum tracks I did the right way. They're loops. Seems like people in R&B haven't learned anything in the last 30 years. The show revolves around the drummer.
    My drummer lives in my laptop and cell phone.

    My drummer is probably better than your drummer.

    In regards to technology- if you don't so it someone else will. We may never get out of the downsizing Reagan era in US music.

  28. #277
    Everyone's entitled to their opinion. But basically saying so, ...by way of name-calling (elites?), defeats the purpose, because you're doing the very thing you're complaining about...

    I value the input of many of these so-called "elites" on the forum. Take what you like and leave the rest. Address the ideas and not the person ad hominem, whether directly or indirectly.

  29. #278

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    Quote Originally Posted by matt.guitarteacher View Post
    Everyone's entitled to their opinion. But basically saying so, ...by way of name-calling (elites?), defeats the purpose, because you're doing the very thing you're complaining about...

    I value the input of many of these so-called "elites" on the forum. Take what you like and leave the rest. Address the ideas and not the person ad hominem, whether directly or indirectly.
    Nah, that's just weak virtue signaling.

    I think I was speaking to the condescension that was so freely offered at points in this thread...I didn't offer personal jabs, not my style.

    I have known a lot of elitist dicks, I was raised by one ...I just thought this concept deserved more than the brush off, yo.

  30. #279

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    Quote Originally Posted by basscadet View Post
    Nah, that's just weak virtue signaling.

    I think I was speaking to the condescension that was so freely offered at points in this thread...I didn't offer personal jabs, not my style.

    I have known a lot of elitist dicks, I was raised by one ...I just thought this concept deserved more than the brush off, yo.
    This elitist has learned that there's no virtue in not using a looper on gigs when one isn't actually capable of using one effectively to begin with. Like the man said;

  31. #280

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    Quote Originally Posted by basscadet View Post
    Nah, that's just weak virtue signaling.

    I think I was speaking to the condescension that was so freely offered at points in this thread...I didn't offer personal jabs, not my style.

    I have known a lot of elitist dicks, I was raised by one ...I just thought this concept deserved more than the brush off, yo.
    I was raised by two.

  32. #281
    Quote Originally Posted by basscadet View Post
    Nah, that's just weak virtue signaling.

    I think I was speaking to the condescension that was so freely offered at points in this thread...I didn't offer personal jabs, not my style.

    I have known a lot of elitist dicks, I was raised by one ...I just thought this concept deserved more than the brush off, yo.
    20 posts and then you're calling out many of the people who have contributed the most toward actually helping people on the forum, but you probably wouldn't know. This is Drive-by BS.
    Last edited by matt.guitarteacher; 11-21-2016 at 05:55 PM.

  33. #282

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    Quote Originally Posted by Stevebol View Post
    I was raised by two.
    I wasn't.

    But, in my younger days, I might have qualified as a Little Lebowski Urban Achiever.

  34. #283

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    Quote Originally Posted by cosmic gumbo View Post
    Let's face it, live musicians are a disposable breed, it's cheaper to fire up the ol' jukebox, and that's what the musician's union has been trying to warn about since the dawn of recording. Beware, you will be replaced by technology.
    I had a weekly dinner gig at a local restaurant. I played the gig on my Chapman Stick.

    I had a good 3 hours of material - some jazz standards, original tunes, and a bit of improvisation. One night, a drunk patron stumbles up and shouts that he wants to hear me play and sing Sinatra. I didn't have any prepared, and told him so. He heads over to the jukebox (which had been unplugged for my dinner gig), plugs it back in and starts playing Sinatra.

    He must have spent a lot of money at that bar, because I lost the gig that week to a DJ.


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  35. #284

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    Quote Originally Posted by AlsoRan View Post
    You have taught me one of the tricks of the trade - using that octave pedal to make basslines. Nice tip. Pretty nice atmospheric playing as well. I somehow pictured something a little more mellow, but I was thinking more of a restaurant gig, I guess.

    Thanks.
    Bass in this one is Tele through octaver
    (Wendy, Paul Desmond, my variation from 2014, Practical Standards thread...)

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  36. #285

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    Quote Originally Posted by Vladan View Post
    Bass in this one is Tele through octaver
    (Wendy, Paul Desmond, my variation from 2014, Practical Standards thread...)

    VladanMovies & CCC - Car Camera Clips: VladanMovies @ Smederevo Fortress/ Cover of Wendy by Paul Desmond


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    There you go! Another enterprising soul using their head.

    That is what I like about this forum. Everybody brings their own ideas, many of which can be adopted by someone else.

    I actually just ran up the credit card a little and bought one of those EZMix 2 programs and a guitar interface. Now I can make some recordings like you guys. Only I really like having drums so I bought the EZdrummer 2.

    Damn. That was a lot of money....

    I hope the wife doesn't find out.....!

  37. #286

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    Wendy is a really nice tune.

  38. #287

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  39. #288

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    following MAtts example i just muted the piano and drums in BB....nice

  40. #289

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    Quote Originally Posted by christianm77 View Post
    Wendy is a really nice tune.

    I agree, I need to learn it.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  41. #290

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    i went back to piano bass drums BB Ron Carter bass real track ..Kenny Barron piano real tracks.assures Realism..

  42. #291

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    Quote Originally Posted by christianm77 View Post
    Wendy is a really nice tune.
    Yes we did it for the Practical Standards in November 2014 (can't believe it's that long ago!):


  43. #292

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    Quote Originally Posted by grahambop View Post
    Yes we did it for the Practical Standards in November 2014 (can't believe it's that long ago!):

    Nice! (Love nylon.)

    On the subject of loopers, I cracked it and used it live last night. I recorded the guitar while singing, then I improvised over the track.

    Though I'm pleased with the way I used it (I kept it simple and short) and I intend to use it regularly, I'm looking forward to having this modification carried out in a couple of weeks.

    I intend to learn to use this effect as wisely - and as well - as I possibly can. (The Freeze seems like a 'micro-looper' to me.)
    Last edited by destinytot; 11-27-2016 at 08:25 AM.

  44. #293

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    Thanks!

    That is a very cool mod of the pedal.

  45. #294

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    My latest experiments with looping came about with the Zoom A3 acoustic processor, which adds a mic input with its own volume control, so I set up a mic for my percussionist, and he played a simple figure while I sang and accompanied with the 7-string; on hitting the pedal, we were both free to add colors, lines, solo, etc., but the beat was easily discerned from the percussion track, which has always been a problem with just guitar laying down the first track; the rhythmic transients aren't clear enough. With a little work, we can create a nice little band to play over by adding another track or 10. Is it jazz? Well, it's instant jazz, like instant oatmeal; perhaps not as satisfying as the real thing, but still pretty good. The "elitist" in me likes to play over my chord changes and bass lines, and, with a more involved looper, there is nothing to prevent one from re-recording the changes even while continuing to play the same tune.

    An interesting take on the philosophy of all of this is the fact that in my African band, masters of the tradition have no compunctions about utilizing technology, especially looping. Their time is so good that we have on occasion had 3 loopers on the stage, creating a virtual orchestra of ancient instruments. And these are players who actually make their own instruments by hand!

  46. #295

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    I've been practising my timing of the requisite looper 'stomps' in anticipation of picking up an octave pedal with which to
    have an inordinate amount of fun playing bass lines:

  47. #296

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    I say this with all sincerity - Sandro (the OP) would be proud of the way this thread ended up after the hell he caught for suggesting the use of backing tracks and loop pedals.

    I wonder where he is now and if he has even checked in to see where this thread has headed? It would be interesting to hear his thoughts years later.

  48. #297

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    Quote Originally Posted by cosmic gumbo View Post
    Er...the old standby of the restaurant scene....


  49. #298

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    I started making my own background tracks 30 years ago. Using them enabled me to play solo and make a living playing music. It's also been a good way to practice improvising on Jazz standards etc. But it isn't the same as playing with other musicians. In fact, playing solo without tracks is totally free compared to being confined to playing along with recorded tracks. Never tried a looper. They tend to sound to loopy (to me) except for those that have several loops that can be turned on/off in perfect time.

    I still record my own tracks with synth, MIDI and DAW. The more time I spend working on a track, the better it turns out. I'm not a great keyboard player, but I manage with songs that aren't too complex.

  50. #299

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    Quote Originally Posted by AlsoRan View Post
    I say this with all sincerity - Sandro (the OP) would be proud of the way this thread ended up after the hell he caught for suggesting the use of backing tracks and loop pedals.

    I wonder where he is now and if he has even checked in to see where this thread has headed? It would be interesting to hear his thoughts years later.
    I'm prompted by events to write a quick message about this topic.

    Speaking entirely about myself (I want it to be clear that I'm not trying to dictate to others), I don't want to sell out my principles.

    The thing is, this only becomes an issue when I actually have an opportunity to sell out (and not for - ahem - 'small potatoes').

    Well, such an opportunity has arisen in the form of a clear offer - and I'm trying to find a way to get those potatoes without selling out!

    To be continued - after tidying and tree decoration!
    Last edited by destinytot; 12-24-2016 at 09:25 AM. Reason: an

  51. #300

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    Quote Originally Posted by destinytot View Post
    I'm prompted by events to write a quick message about this topic.

    Speaking entirely about myself (I want it to be clear that I'm not trying to dictate to others), I don't want to sell out my principles.

    The thing is, this only becomes an issue when I actually have an opportunity to sell out (and not for - ahem - 'small potatoes').

    Well, such an opportunity has arisen in the form of a clear offer - and I'm trying to find a way to get those potatoes without selling out!

    To be continued - after tidying and tree decoration!
    Intriguing.....