Reply to Thread Bookmark Thread
Page 1 of 7 123 ... LastLast
Posts 1 to 50 of 310
  1. #1

    User Info Menu

    I think we'll get this week started as I'm not sure if I'll have any time near a computer this afternoon.

    Our tune this week is Herbie Hancock's "Dolphin Dance."

    JGBE Virtual Jam (Round 9) - Dolphin Dance-1615067788998-jpg


  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #2

    User Info Menu

    I also just wanted to post a few quick thoughts on this tune, as I think it might be the most brilliant tune written in jazz history.

    It's kind of a microcosm of everything jazz was in 1965, and certainly everything Herbie was into. The form itself is very interesting.

    There's a four bar intro that introduces what I'll call the "melody contour." A melodic rhythm that appears several times in the form, but with different pitches. A motif.

    It doesn't sound like an intro, though. It just sounds like we are jumping straight into the tune. But those 4 bars never repeat. Instead, we get the same melody contour at the end of the form, with wildly different harmony.

    The A section can be thought of as functional, or really just hanging around C minor.

    The B section re-intoduces our melody contour, but now with a more modern, suspended sound in the background, travelling from G to Fsus sounds...but we're not done.

    The C section I think of as kind of a fanfare, a climax of the tune, and it's followed by a "cool out," a brief modal vamp, and then finally, that familiar melody contour returns one last time, but over some seriously heavy harmony.

    This is a tune I've played before, but in no way do I feel "comfortable" or "free" over it. This is a tune you could spend a lifetime on!

    Oddly enough, I recorded a version of this about one year ago, right at the beginning of the first corona lockdown...I'll have to see if I can find it, I'm not sure I put it on YouTube, it might just be floating around social media somewhere. I'm guessing my solo is pretty similar-- I tend to play it safe on this one. My goal is to go deeper this year, becuse I love this tune so much.

    Enjoy!
    Last edited by mr. beaumont; 03-12-2021 at 11:20 AM.

  4. #3

    User Info Menu

    Quote Originally Posted by mr. beaumont
    I also just wanted to post a few quick thoughts on this tune, as I think it might be the most brilliant tune written in jazz history.

    It's kind of a microcosm of everything jazz was in 1965, and certainly everything Herbie was into. The form itself is very interesting.

    There's a four bar intro that introduces what I'll call the "melody contour." A melodic rhythm that appears several times in the form, but with different pitches.

    It doesn't sound like an intro, though. It just sounds like we are jumping straight into the tune. But those 4 bars never repeat. Instead, we get the same melody contour at the end of the form, with wildly different harmony.

    The A section can be thought of as functional, or really just hanging around C minor.

    The B section re-intoduces our melody contour, but now with a more modern, suspended sound in the background, travelling from G to Fsus sounds...but we're not done.

    The C section I think of as kind of a fanfare, a climax of the tune, and it's followed by a "cool out," a brief modal vamp, and then finally, that familiar melody contour returns one last time, but over some seriously heavy harmony.

    This is a tune I've played before, but in no way do I feel "comfortable" or "free" over it. This is a tune you could spend a lifetime on!

    Oddly enough, I recorded a version of this about one year ago, right at the beginning of the first corona lockdown...I'll have to see if I can find it, I'm not sure I put it on YouTube, it might just be floating around social media somewhere. I'm guessing my solo is pretty similar-- I tend to play it safe on this one. My goal is to go deeper this year, becuse I love this tune so much.

    Enjoy!
    I was afraid you might call this I've played it for years, but never fully gotten the hang of it. Not that that ever stopped me

    John

  5. #4

    User Info Menu

    Agreed on all fronts.

    They used to call this tune A LOT in the college jam sessions I attended.

    I used to stumble HARD over this tune.

    That said, it is one of the few "modern standards" that is in the same league as "Lush Life" or "Body and Soul."

    A BEAUT of a tune But this tune makes you WORK for that beauty to come out in your improvisation.

    Mr. B, that solo sounded very pretty and yet... very gritty (like Grant Green, who we all love on this thread )

    This will be the tune where all my warts come out

  6. #5

    User Info Menu

    Ha, I did find my take from last year...at least I'm not wearing exactly the same flannel

    A lot more notes here. I think I tried a hip hop groove here, which is just iReal. I dunno. Not bad I guess.

    Interesting to see what changes and what stays the same.


  7. #6

    User Info Menu

    Both fine takes, Jeff with great tone. I'd prefer the newer version, it sounds a bit more relaxed to me...

  8. #7

    User Info Menu

    Yea... have always loved this tune. here's an old vid I posted 10 years ago.... a little weird but does show one of the 12 step melodic development approaches, that is #6 or #7 ,I believe, playing melodic idea and trying to develop or expand each time through until you get where you want. Listening now... pretty rough, but I was just posting BS examples back then.

    Feel free to rip it up... I'll try and actually get out one of my guitars and post some of the previous Jam of the week tunes...work backwards LOL

  9. #8

    User Info Menu

    Downloaded a chord sheet and a lead sheet - this is a real tough one re: complex changes, not sure if I can cut it. Other than that: ordered the album since I don't have it.

  10. #9

    User Info Menu

    TOMMO (and anyone) here's how I'm navigating, as a guy who doesn't like to go too deep in to theory that I don't really understand.

    So the solos start from the 5th bar of the head, if you will, on the Cm. So I'm calling that first bar of Cm BAR 1 of the solos...

    The first 12 bars of the form aren't too tricky. Mostly Cm, a trip to G. Bars 5-8 you can just "play changes," before settling back to Cm and then a 2 bar ii V to G in bars 11-12.

    Now we get into 8 bars of suspended sounds. Four over a G pedal tone, 4 over an F.

    With the four bars of G pedal, I hear triads over bass...starting with just G, then F, then A, and that last sus chord can be Dm/G. So Gmaj, F/G, A/G, Dm/G

    Then with the F pedal you can think Fsus, but really it's kinda heading back to Cm. F13sus is like a Cm9, the chord in bar 18 which I see sometimes notated as D/F is like an F13b9, back to Cm, then a ii V in bar 20 that doesn't go to Dmaj like expected...

    Bars 21-26 again can just be played as written. That Eb7 in bar 21 is definitely a 7#11 sound.

    Then we got the modal "cool down." Again triads over bass, this time D and C over an E. You can go all Allman brothers and think A Dorian really, or think Bm and Am as well.

    Then those crunchy last 4 bars, triads are back! Eb in bass, but the chord are complex...I mess with Fm, G, C, and G+ triads in bars 31-34 respectively, getting back to Cm.


    This probably isn't all "right," but it helps me hear it. Maybe it'll help you.

  11. #10

    User Info Menu

    Quote Originally Posted by mr. beaumont
    TOMMO (and anyone) here's how I'm navigating, as a guy who doesn't like to go too deep in to theory that I don't really understand.

    So the solos start from the 5th bar of the head, if you will, on the Cm. So I'm calling that first bar of Cm BAR 1 of the solos...

    The first 12 bars of the form aren't too tricky. Mostly Cm, a trip to G. Bars 5-8 you can just "play changes," before settling back to Cm and then a 2 bar ii V to G in bars 11-12.

    Now we get into 8 bars of suspended sounds. Four over a G pedal tone, 4 over an F.

    With the four bars of G pedal, I hear triads over bass...starting with just G, then F, then A, and that last sus chord can be Dm/G. So Gmaj, F/G, A/G, Dm/G

    Then with the F pedal you can think Fsus, but really it's kinda heading back to Cm. F13sus is like a Cm9, the chord in bar 18 which I see sometimes notated as D/F is like an F13b9, back to Cm, then a ii V in bar 20 that doesn't go to Dmaj like expected...

    Bars 21-26 again can just be played as written. That Eb7 in bar 21 is definitely a 7#11 sound.

    Then we got the modal "cool down." Again triads over bass, this time D and C over an E. You can go all Allman brothers and think A Dorian really, or think Bm and Am as well.

    Then those crunchy last 4 bars, triads are back! Eb in bass, but the chord are complex...I mess with Fm, G, C, and G+ triads in bars 31-34 respectively, getting back to Cm.


    This probably isn't all "right," but it helps me hear it. Maybe it'll help you.
    Thanks Jeff! Do you keep an eye on a chord sheet or do you have the progression memorized? Anyway: it's a most beautiful tune that I've known before but never listened to intensely. I will try if I can make something out of it.

  12. #11

    User Info Menu

    You are welcome!

    And yes, I think I prefer the newer take as well, thank you.

    Re: sheets

    I try to do without. I've actually gotten very good at committing a tune to short term memory by looking at form. It's getting those tunes over to long term memory that takes more work for me

  13. #12

    User Info Menu

    I did a lot of this back in 2018, several takes. Luckily I can't remember much about it but it is a pretty tune. So I'm going to do it fresh. I'm not going to read any of the 'how to do it' posts because I want to explore and discover it myself.

    I notice Tommo told Mr. B his current version sounds more relaxed than the previous one... Well, see, that's what happens, Jeff. Just wait another 30 years :-)

  14. #13

    User Info Menu

    Decided to head over to Mr. Sunny Bass's jam. I think he hypnotized me.



    John

  15. #14

    User Info Menu

    Quote Originally Posted by mr. beaumont
    I think we'll get this week started as I'm not sure if I'll have any time near a computer this afternoon.

    Our tune this week is Herbie Hancock's "Dolphin Dance."
    JGBE Virtual Jam (Round 9) - Dolphin Dance-1615067788998-jpg

    Quote Originally Posted by mr. beaumont
    Ha, I did find my take from last year...at least I'm not wearing exactly the same flannel

    A lot more notes here. I think I tried a hip hop groove here, which is just iReal. I dunno. Not bad I guess.

    Interesting to see what changes and what stays the same.

    I have to say I dig both. I like the way you bring out the harmony to the tune. You hit the changes without "chasing them", and give it a nice bop-ish feel on the new one one, and I like the energy and more burning approach to the earlier one. I deliberately didn't listen before doing mine just because I like to do these with a clean palate, so to speak, but I could do with a bit more of what you do on both of these.

    John
    Last edited by John A.; 03-12-2021 at 01:01 AM.

  16. #15

    User Info Menu

    Quote Originally Posted by John A.
    Decided to head over to Mr. Sunny Bass's jam. I think he hypnotized me.



    John
    Beautiful lines, John!

  17. #16

    User Info Menu

    Here's one. My current headphones have given up the ghost so I can't tell whether the sound's balanced properly or not. You can tell me.

    I found this quite easy despite the chords. Nice, slow and dreamy, of course, so that's okay. There's lots of opportunity for some zippy pentatonic stuff but I wasn't very adventurous. Maybe another time. It's better than the one I did in 2018.



    Nice chordal stuff at the beginning there, John. Something I should do more of.

  18. #17

    User Info Menu

    For serious headbanging, try -



    No, I haven't... yet.

  19. #18

    User Info Menu

    Very nice, ragman! The tune sounds great with just acoustic guitar(s). Balance is perfect to my ears.

  20. #19

    User Info Menu

    Quote Originally Posted by John A.
    Decided to head over to Mr. Sunny Bass's jam. I think he hypnotized me.



    John
    I really feel stumped by this one. But you've got my mind turning again.

    And really, I can't pull my eyes off that guitar. What a beauty!

  21. #20

    User Info Menu

    Quote Originally Posted by John A.
    Decided to head over to Mr. Sunny Bass's jam. I think he hypnotized me.



    John
    Very nice take. You have found the atmosphere of the song perfectly. Super sound and very atmospheric playing.
    Best
    Kris

  22. #21

    User Info Menu

    John and Rag, nice takes both.

    John you do a lot of stuff I like in this, but there's one lick in particular I just love, at 1:37...this cool modern pentatonic thing. I need to get more of that in my playing!

    Rag, your unhurried style really fits this one. Sounds more like your creating a new melody than soloing. That's a good thing.

  23. #22

    User Info Menu

    Quote Originally Posted by lawson-stone
    I really feel stumped by this one. But you've got my mind turning again.

    And really, I can't pull my eyes off that guitar. What a beauty!
    It's definitely a challenge. I've been playing it for decades and I still feel pretty much lost over parts of the tune, especially the last 4 bars of the solo form. I've gotten to the point were little melodic ideas come to me, but I can't really explain them. Jeff' reply to Tommo above is a good roadmap. This is a good analysis of the tune that opened some doors for me. If you listen to what I played, you'll notice that I actually miss the changes a bit, but it sounds OK because I'm just playing against a bassline and not clashing with any other harmony.


    John

  24. #23

    User Info Menu

    Lawson, one thing that really helped me was trying to find a whole note melody that travelled through the tune. So one whole note on each chord that sounded strong. And then that becomes like a simplified melody to play off of.

  25. #24

    User Info Menu

    You all are braver than I!

    Rags, I bought that Barry Greene class last night.

    Highly recommended. Sometimes his classes get too chord scaly and theoretical. There are a handful of classes where he gets the balance JUST RIGHT. Tasty lines. The bare minimum of theory to get the point across in a digestible manner. His "Dolphin Dance" class is one of such classes.

    This is a tune where going at it pure ears can be a bit tricky. The whole tune plays on your assumptions of what harmony is supposed to sound like, and then the tune does the unexpected and you land on your arse for resolving a line incorrectly.

    That said, this is a BEAUT of a tune. Love Herbie Hancock's playing and compositions, especially from his "Blue Note" period.

    I will post soon, and I'll try not to steal everyone else's ideas when I come up with my own take .

  26. #25

    User Info Menu

    Quote Originally Posted by PickingMyEars
    Sometimes his classes get too chord scaly and theoretical. There are a handful of classes where he gets the balance JUST RIGHT. Tasty lines. The bare minimum of theory to get the point across in a digestible manner. His "Dolphin Dance" class is one of such classes.
    I thought he was getting some very interesting sounds out of it. Maybe at the end of his performance he was getting a bit carried away :-)

    But I really loved the way he played the tune, lovely bluesy sound and a light touch. Great musicianship.

  27. #26

    User Info Menu

    Quote Originally Posted by Reg
    Yea... have always loved this tune. here's an old vid I posted 10 years ago.... a little weird but does show one of the 12 step melodic development approaches, that is #6 or #7 ,I believe, playing melodic idea and trying to develop or expand each time through until you get where you want. Listening now... pretty rough, but I was just posting BS examples back then.

    Feel free to rip it up... I'll try and actually get out one of my guitars and post some of the previous Jam of the week tunes...work backwards LOL
    Looking forward to hearing some fresh stuff. Very interesting to me how you kind of bend this tune to your style (that high-energy, 16ths, "turbo-Wes"/Benson-y thing you do). I think a lot of us are trapped in trying to grok Herbie's ethereal concept on this, and lose sight of it just being a tune that you can do your own thing on. It may not be easy to do that, but it is possible. Also, for you kids watching at home, time and right hand.


    Quote Originally Posted by TOMMO
    Beautiful lines, John!
    Many thanks, Tommo.

    Quote Originally Posted by ragman1
    Here's one. My current headphones have given up the ghost so I can't tell whether the sound's balanced properly or not. You can tell me.

    I found this quite easy despite the chords. Nice, slow and dreamy, of course, so that's okay. There's lots of opportunity for some zippy pentatonic stuff but I wasn't very adventurous. Maybe another time. It's better than the one I did in 2018.

    Nice chordal stuff at the beginning there, John. Something I should do more of.
    Rags, this tune fits your style well, and you sound good on it. Re: balance, the bass is very low, and there's a lot of hiss and background noise.

    Quote Originally Posted by kris
    Very nice take. You have found the atmosphere of the song perfectly. Super sound and very atmospheric playing.
    Best
    Kris
    Thanks, Kris. Looking forward to hearing yours.

    Quote Originally Posted by mr. beaumont
    John and Rag, nice takes both.

    John you do a lot of stuff I like in this, but there's one lick in particular I just love, at 1:37...this cool modern pentatonic thing. I need to get more of that in my playing!
    Thanks, Jeff. It's a little lick I recycle a lot, my attempt to emulate a sort of Brecker "false-fingering sound".

    Quote Originally Posted by PickingMyEars
    You all are braver than I!

    Rags, I bought that Barry Greene class last night.

    Highly recommended. Sometimes his classes get too chord scaly and theoretical. There are a handful of classes where he gets the balance JUST RIGHT. Tasty lines. The bare minimum of theory to get the point across in a digestible manner. His "Dolphin Dance" class is one of such classes.

    I will post soon, and I'll try not to steal everyone else's ideas when I come up with my own take .
    Good to know that about the BG class. At some point I'd love to have a real lesson with him. I think, like Rags, this song might mesh well with your style and it will be interesting to hear your take.

    John

  28. #27

    User Info Menu

    Quote Originally Posted by John A.
    Re: balance, the bass is very low, and there's a lot of hiss and background noise.
    Thanks, looking into it. I've been using two different headphones. One is all treble and the other's okay but maybe bassy and a bit dull. There's no overall volume mixer/adjuster on the computer (I think) so it's hard to know how to adjust anything. What is normal/right?

    I suspect the reception also depends on the sound set-up of the listener the other end. Put all that together and I don't know! Just do one's best, I think.

  29. #28

    User Info Menu

    Quote Originally Posted by John A.
    Re: balance, the bass is very low, and there's a lot of hiss and background noise.John
    Quote Originally Posted by ragman1

    I suspect the reception also depends on the sound set-up of the listener the other end.
    It sounds fine on my end.

  30. #29

    User Info Menu

    The bass just fades away.
    The guitars sound ok.

  31. #30

    User Info Menu

    Quote Originally Posted by ragman1
    Thanks, looking into it. I've been using two different headphones. One is all treble and the other's okay but maybe bassy and a bit dull. There's no overall volume mixer/adjuster on the computer (I think) so it's hard to know how to adjust anything. What is normal/right?

    I suspect the reception also depends on the sound set-up of the listener the other end. Put all that together and I don't know! Just do one's best, I think.
    In general, getting the relative levels of bass instruments and mid/treble instruments mixed right can be challenging because because different mixes sound very different on different listening set-ups. It helps to listen on more than one set-up, and tweak things until it sounds OK on more than one. For instance, I have decent "studio" headphones, and some decent wired earbuds. The earbuds exaggerate the bass; the phones attenuate it somewhat. If I mix on just the buds, the result is usually not enough bass on real speakers. If I mix on the phones, it's usually the opposite. So when practical, I switch off between the two and tweak the mix until it sounds OK on both. Also, soundcloud's encoding can do weird stuff to your mixes, so sometimes it's good to check mixes there, and re-do them to adjust for the way soundcloud steps on them. All of this is TMI for what we're doing on these threads, so the long and the short of it is that your mixes don't have enough bass in them. Turn it up. Trust me.

    John

  32. #31

    User Info Menu

    John -

    Thanks. I'll try it on various different outputs. Also up the bass.

    Of course I'm not using an actual bass, it's played normally into Audacity then the pitch is altered to an octave down. Not brilliant but it gives some low end. So we'll experiment. I might do some examples here and delete them afterwards.

    What worries me a little is that TOMMO says it sounds all right to him... you see the point? Is it me or the listener?

  33. #32

    User Info Menu

    Quote Originally Posted by ragman1
    John -

    Thanks. I'll try it on various different outputs. Also up the bass.

    Of course I'm not using an actual bass, it's played normally into Audacity then the pitch is altered to an octave down. Not brilliant but it gives some low end. So we'll experiment. I might do some examples here and delete them afterwards.

    What worries me a little is that TOMMO says it sounds all right to him... you see the point? Is it me or the listener?
    Most probably me....LOL!

  34. #33

    User Info Menu

    I never noticed any bass in ragman's recordings, always thought it was just double tracked guitar.

    Never bothered me.

  35. #34

    User Info Menu

    So plugged into my aux cable in my car, I can't really hear a bass line on any example. What I get is a big "swell" on that second chord (A note? I don't have perfect pitch) that reminds me more of how bass is felt in a hip hop track. It gets increasingly woofier in each example.

    Just listening through my phone, I don't notice anything.

    But like I said, the lack of bass never bothered me anyway.

  36. #35

    User Info Menu

    Quote Originally Posted by ragman1
    Well, I'll be honest. When those of a technical bent get involved anything can happen. You jump through a hundred hoops and eventually go back to what you started with :-)

    However, here's a test if you want one. It can all be deleted afterwards. In fact it should be.

    First beautiful example is the bass level I normally use. Then it increases in volume gradually till the last example is the same level as the melody/chords. It's just 1-5 on each bar.

    (Bearing in mind the whole thing is rubbish anyway because it's not proper equipment )

    Tell me where you think it sounds just perfect for you.

    The 4th one sounds best to me. How are you recording?

    John

  37. #36

    User Info Menu

    Quote Originally Posted by John A.
    The 4th one sounds best to me. How are you recording?

    John
    There is a fair dollop of bass on no. 4. From here I'd say it diminished the treble, myself. I find the more bass, the less impact the melody has.

    I'm not sure if I should tell you about the recording because I can't change that. But I will if you really insist!

  38. #37

    User Info Menu

    Quote Originally Posted by ragman1
    Oh, jeez, hilarious! Woofier. Okay, well, you'll never miss what you never had!

    Tell you what, here's it (very quick) without any bass at all. What do you think?

    Cool, I stop at the market to get some spinach and pancetta, come out, new recording to check out.

    Honestly, in my car, this one sounds best.

  39. #38

    User Info Menu

    Great tune! I used to know it well, but since my long-term memory is what it is, I had to to look at the lead sheet as I have not played it in a while. The play along I used only had one form of soloing, and also I love Jeff's short version... So here's: "Play one form, because there's 12 horn players lined up behind me to jam on it".


  40. #39

    User Info Menu

    Jeff, always a great ice-breaker! Great version! Love the sound and feel!

    John, really cool stuff. Really love those lines, wow!

    Ragman, always a pleasure to hear your unique versions. You really have a great thing going with your acoustic approach!

    I love Barry Greene's stuff. I find his website and lessons are great. I subscribed for a while and really dug it. It's all there, technique, theory, and I like the way he goes through the details of a tune.
    Last edited by Ronstuff; 03-12-2021 at 09:19 PM.

  41. #40

    User Info Menu

    Quote Originally Posted by Ronstuff
    Great tune! I used to know it well, but since my long-term memory is what it is, I had to to look at the lead sheet as I have not played it in a while. The play along I used only had one form of soloing, and also I love Jeff's short version... So here's: "Play one form, because there's 12 horn players lined up behind me to jam on it".

    I've really been digging your contributions here, and this is no exception. Has kind of an exploratory feel but remains relaxed. Its "horn like," to spout that cliché...bit for real.

  42. #41

    User Info Menu

    Quote Originally Posted by mr. beaumont
    Cool, I stop at the market to get some spinach and pancetta, come out, new recording to check out.

    Honestly, in my car, this one sounds best.
    Spinach and pancetta, yum.

    So it looks like the only thing the added bass does (in your car) is make it fuzzier, basically. But, of course, most of us aren't trying to do this stuff in a car! Is it too much to ask to try it all indoors on a computer or something?

    See, I'm wondering what TOMMO's got that no one else has...

  43. #42

    User Info Menu

    Quote Originally Posted by Ronstuff
    unique
    You can say that again :-)

    There were some nice outside notes in your vid too. And glad you like the Barry Green thing. Advanced, though, it has to be said.

  44. #43

    User Info Menu

    Quote Originally Posted by Ronstuff
    Great tune! I used to know it well, but since my long-term memory is what it is, I had to to look at the lead sheet as I have not played it in a while. The play along I used only had one form of soloing, and also I love Jeff's short version... So here's: "Play one form, because there's 12 horn players lined up behind me to jam on it".

    Your sound is great.Very nice solo.
    Best
    Kris

  45. #44

    User Info Menu

    Quote Originally Posted by ragman1
    Tell me where you think it sounds just perfect for you.

    Quote Originally Posted by mr. beaumont
    What I get is a big "swell" on that second chord

    I don't hear much of a difference except what Jeff noticed: the very first few bass notes get a bit woofier from example to example...

  46. #45

    User Info Menu

    Great melodic lines, Ronstuff and I love the tone of your Guild!


    Quote Originally Posted by ragman1

    See, I'm wondering what TOMMO's got that no one else has...
    Shot ears maybe?

  47. #46

    User Info Menu

    Quote Originally Posted by TOMMO
    Shot ears maybe?
    I doubt it :-)

    So I think we basically (no pun) agree that the more bass there is the woofier it gets... but I'm not sure personally that it should have no bottom end at all. It's not really meant to be an acoustic sound, just my amateur approximation to a proper one.

    But I actually knew that the more bass the woofier, etc, which is why I minimised it originally.

    But then I was told it hadn't got any bass...

  48. #47

    User Info Menu

    Quote Originally Posted by ragman1

    But I actually knew that the more bass the woofier, etc, which is why I minimised it originally.

    But then I was told it hadn't got any bass...
    You can't please everyone....

  49. #48

    User Info Menu

    This is my version of Dolphin Dance.
    This time I decided to play the whole beautiful theme and two improvisation choruses. I didn't want to show off my technical proficiency. I focused on the atmosphere and music. I like playing my Stratocaster more and more.

    Box

  50. #49

    User Info Menu

    That's beautiful, kris! Relaxed and unhurried and your tone fits the tune well.

  51. #50

    User Info Menu

    Quote Originally Posted by ragman1
    I doubt it :-)

    So I think we basically (no pun) agree that the more bass there is the woofier it gets... but I'm not sure personally that it should have no bottom end at all. It's not really meant to be an acoustic sound, just my amateur approximation to a proper one.

    But I actually knew that the more bass the woofier, etc, which is why I minimised it originally.

    But then I was told it hadn't got any bass...
    I wonder if electric guitar works better for this sort of thing? I assume you are recording acoustic guitar bass lines with a mic (what sort of mic?) then dropping them down an octave in Audacity. It just sounds a bit uneven or inconsistent, in terms of the bass response.

    I have tried similar things using electric guitar either via Audacity or with my Boss octave pedal, and it sounded a lot more ‘full’ and consistent in the bass register than what you are getting.