Massively Multi-Tasking Offline Real Playing Game

Well, it's indeed been a while. I can't apologize for that, as our band has been very busy the last couple months and I'm pretty happy about it. Adding a Beach Boys tribute to our repertoire, while not being the most exciting idea to me at first, has opened us up to a whole new group of paying customers. Throw in a little Jan & Dean, Ventures, Surfaris and Jimmy Buffet and we are THE band for your beach themed party.
It's payed well enough, that I got GAS (that's Gear Acquisition Syndrome, a serious medical disorder). I acquired a red Fender American Deluxe Strat with a flamed maple top. It has single coils in all positions and sound more "era appropriate" and "surfy" than my hot rodded, humbucker equipped MIM Black Strat (which may still be the more "fun" of the two guitars).
Then after weeks of agonizing and calling or talking to almost every guitarist I knew and playing through at least 20 All Tube and Hybrid amps, I went for the All Tube, 50 Watt Peavy Valve King 112. Now, I know. I've cracked many a Peavy joke over the years, mostly about their (still) ugly logo and their Bomb Shelter like construction. But I've also owned a Peavey or two, and I was comfortable with the brand (unlike the 3 or 4 Crate amps I looked at).
It was a process. I decided fairly quickly a Hybrid wasn't going to get it for me. I was looking to replace a Fender Twin Reverb I'd been borrowing. And with the new Strat being much quieter than the older one, I decided I probably needed 50 watts over the 30 watt amps I'd been looking at. At that point, it came down to bang for the buck. And the Peavey was channel switching, had reverb, and had a control to dial out one of the power tubes for a pseudo Class A circuit (which is quieter for smaller gigs). That and I turned it pretty much all the way up at Sam Ash and the clean channel stayed clean. Pretty impressive.
So, as I write this, I have another gig tonight in Diamond Bar. So, i better get going. Hope you are all doing well.
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And that's enough for now.

Brian Norwood

Platypi Online: The Platypus Portal

Bleh.

So, I'm sick. Grandma has the baby. I should have lots of time to blog. But no. I'm feeling like death. I don't want to. But... now I have become sick of my bed. I need to DO something.

So, what's going on? I'll tell you what I just heard that makes me excited. There is a rumor going around that iTunes is going to introduce a subscription plan. All you can eat for something like 20 bucks a month.
Now, I can't say that I have always been so poor I could never buy music. But, I was always spending my cash on surfboards, strings, canvas, and other things that made it hard to keep up with my music purchases. In addition, having to buy the Metallica catalog 3 or 4 times, and still not have it today made acquiring new music problematic.
Well, my tastes have changed over the years, and there are literally stacks of music I'd love to have.
I fell in love with the music of Africa, from guys like Ayub Ogada and Papa Wemba. But I can't drop 12 bucks a CD for all of the stuff I want right now. But, if this rumor is true, I will literally fill an iPod with world music. And a lot of singular hits from bands whos cds I never bought. The Foo-Fighters "Everlong" comes to mind, a song I will probably play a dozen, maybe 20 times times and never listen to again. I'm like that. Certain songs are like stuffing a candybar in your face. It's great tasting, but after a while all that sugar makes you sick.
Now, this wouldn't be the first service to go "all you can eat", but I just happen to LIKE iTunes, and my iPod. I don't want a Zune, or a Sansa or a Nomad. Just give me a subscription service that works with my iPod, and I'll be happy.

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And that's enough for now.

Brian Norwood

Platypi Online: The Platypus Portal

A functional music model

I typed up a bit about the Crossroads concert I watched the other day. Well, I didn't pay for that, obviously. It was free, I tivoed it, and I skipped all the PBS pledgedrive stuff. In a way, it was as if I downloaded it off the bit torrent. So, what's my point?
John Mayer. I never listened to the guy before. he performed "Gravity", a song that surely must be a hit for him, because it has a great hook. I instantly went to his site, where I listened to most of the album, again for free. I loved it. So much so that I fired up iTunes and bought the special edition of "Continuum" with bonus live tracks. I never would have done this if I had not been exposed to most of the album for free. The RIAA needs to forget about theives. They will always find a way to steal. The industry needs to focus on exposing people like me to music they will gladly buy if given the chance. That is, they need to provide a good product, then let me check it out. I have an iPod. I don't listen to the radio any more. But if my buddy could have sent me "Gravity" to listen to, I would have bought John Mayer a long time ago. File sharing is not the enemy.
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And that's enough for now.

Brian Norwood

Platypi Online: The Platypus Portal

Indescribable

Mere words cannot describe this performance of the Iron Maiden tune "Aces High". A dramatic song about a WWII fighter pilots, the song showcases the vocal dexterity of an "in his prime" Bruce Dickinson.
...Then Chule sang it, as only he could, and the song was transformed. Some covers stick with you forever. Sinead O'Connor's "Nothing Compares 2 U". Van Halen's "You Really Got Me". Social Distortion's "Ring of Fire". And now, Chule's "Aces High". Pay special attention to the audio engineer.

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And that's enough for now.

Brian Norwood

Platypi Online: The Platypus Portal

Life in a cover band

When I started to pick up bass guitar, late in life to some, at 16, what I really cared about is how it might help me be perceived as more appealing to girls. I was already an avid surfer, and if there was surf, that was what I did. A couple of my friends found girls content to sit on the shore and sun bathe as we pursued our passion. I never found such a girl, and I needed some kind of edge. Being in a rather small pond, I got gigs in punk and garage bands, and developed some small degree of ability.
I think it all changed (as referenced in my last post) when I rented the Van Halen video " Live Without a Net". I don't know what year that was, but it was obviously after 86, when the video was released. Eddie looks live he's having the time of his life on that video, and he's tearing it up in his prime. I knew that was the life for me.
I took what little lessons I could afford. We had a local guitar hero, Steve Jurich, who really knew his stuff, and when ever I could scrape together the cash I'd have him show me some stuff, and truth be told, he did a lot of pro bono work too. (We were broke because my parents spent a load of money renting our beach front apartment, for which I will be forever grateful. It was a great way to grow up)



So, anyway. I took it seriously. I did a few bands. I wanted to be a pro musician. I watched a few people around me make pretty good runs of it, but I only ever made one record. Thanks to Duane Taylor for that.

Now I'm going to be 35 this weekend. Rock Stardom is waaaaaaaaaaaaay out of the question. And it seems like when ever your church band starts to get good, people start whining about how your heart is not in the right place. (Like we'd tolerate a pastor giving lousy sermons all the time and just call it "heartfelt") So, what I do to get my groove on is play in a cover band.

I've been with That 70's Band a few years now. When we gig, the pay is ok. But the great thing is the caliber of musicians I get to jam with. We recently began prepareing to be That 50's band, That 60's band and that 80's band as well. Really, I'm playing tons of my favorite tunes with guys who have become like family to me.

So, some guys younger than me have asked how I can sell out and give up my art like that? It's easy. No one wanted to hear my art. (Or more specifically, no one wanted to invest in my art to expose it to people who might want to hear it.)Maybe one out of, what 10,000 bands has any success at all. And anyone who has been in the industry knows it's not the most talented, most visionary bands that make it. It's the most marketable. (It's even more rare to have a marketable band with vision) Anyway,I'm no longer marketable. So do I give up on music because of that? No way. Making music is FUN. And I've made far more money playing other people's music than I ever did my own. My only regret is that I didn't hit on this cover band thing sooner.

My band offers costumes as an option, which adds a bit of anonymity that really lets you cut loose on stage. All the cliches that seem so goofy when you are trying to get signed become "what they're payin' ya for!" Acting like a ham can get you tips.

The one down side ( if you want to call it that) is that people really want to accurately reproduce the song. You're in the nostalgia business, and the more you remind them of their youth, the better you'll do. This means, yes, "Louie Louie" is pretty boring for the bassist. Getting feel for the crowd can give you a bit of freedom though. Still, watching my buddy John nail Berton Averre's athletic guitar solo onMy Sharona night after night is a talent unto it's self.

Treating music as a product to be marketed might bother some art minded individuals, but really, it's a more honest version of what the music industry does every day. Metallica may talk a good game, but really they manufactured a product that appealed to disenfranchised youth, and slowly built market share until they had mass market appeal. They never would have even made that 1st record on Megaforce if somebody didn't smell money first.

So, I like my cover band. I'll keep doing it until I can't anymore. And, I'll keep finally getting paid to play music.
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And that's enough for now.

Brian Norwood

Platypi Online: The Platypus Portal

Eddie Van Halen: Evolution

More than any single person, Eddie Van Halen got my butt down in the garage practicing 5 hours a day in high school. Not so much to sound like him, but to play like him. Like I was really good and having the time of my life. Over different times my my career, I have had various levels of sheer musical dexterity to play with. At my height of chops (if lacking musical maturity), Ed was my hero. And I've followed the highs and lows (Van Halen III ?!?!?) of Ed's little band. So, it is with all due respect I say, Ed should quit. I don't want Eddie to be another Axel Rose asking me to wait 10 plus years for a crappy "Chinese Democracy" that will never come. Writing song after song that doesn't measure up, pushing back the release as he knows it's true.

Ed threw down a gauntlet with "Eruption" few have dared to pick up. Perhaps only protege and die hard fan Paul Gilbert ever achieved such a mixture of frightening chops and musical soul. (I Love Satch and Vai , but what I said is true) And on top of writing some of the most kickass guitar riffs ever, Ed mastered the art of pop song writing with songs like "Dreams", "Love Walks In", "Right Now" and "I can't stop loving you", where he showed he was also the master of the tasteful, melodic guitar solo.

But, Ed has seen better days. I actually picked him for a Ghoul Pool this year. He's had a hip replaced and he's battled cancer. His long time marriage to Valerie fell apart. Tireless VH trooper Michael Anthony is out of the band. And, as much as we all loved the glory days, Dave hasn't been Dave in years. Who wants to see him on tour with VH? Not me.

If Ed quits now, he can look back at almost 3 decades of rock with very few regrets. If he puts out another album. It better be awful darn good, or all of the legacy is in jeopardy. I love him. I miss him. I hope he never comes back.
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And that's enough for now.

Brian Norwood

Platypi Online: The Platypus Portal

My, how the mighty have fallen...

I can barely type right now.
Most of the small group who reads this blog know that I used to be a bassist of some small local renown. I wasn't Flea, but I got called pretty regularly. Those days are gone, and I'm really ok with that. Still, I got a few licks left in me, and I play as much as I can.

I had no idea how depressed I was going to make myself when I set down to play this evening. I got a little Digitech BP 200 bass effects thing I use as a practice amp. My wife must love it, because she never hears me practice. So, tonight I put on the headphones and throw down a bit of the funk. And no, not some weak NKOTB, KISS FM funk. I mean some booga in tha nose, mornin' breath smellin' all day long, nasty 'ole stinky stank FUNK. Slappin' an Syncopatin'. I was pleased.

I dunno, I guess I got cocky. The BP 200 has a little 8th inch jack in for jamming along with an external audio source. So I plug in the iPod and I'm scrolling through when I come across a line that says "Iron Maiden: Best of the Beast (UK)". Now, mind you, I did this ALL... DAY... LONG... in high school. So I say "Bring it!" and press play.

Dude... it was totally brung. Two songs. TWO SONGS and my forearm is screaming like a kid in day camp. (The Clairvoyant and The Trooper for those who know and care). I used to play Steve Harris' galloping triplets for HOURS, and now I wimp out after two songs. I feel like an old man. I AM an old man.

Well, I certainly remember what I admired about the guy. I'm not really comfortable recommending Iron Maiden in terms of content. But, I gotta give props to Steve Harris. His right hand is KING.

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And that's enough for now.

Brian Norwood

Platypi Online: The Platypus Portal

Syncronicity

Today is my last day of work before I become Mr. Mom and stay home with my kid. Now, I actually enjoy what I do quite a bit and have mixed feeling about leaving, but I woke up and my favorite tech diva Amber Mac posted a video on her blog. This is what they call an Anime Music Video. The editing is great, and I love this song. The sone is, of course, Code Monkey (link opens iTunes) by Johnathan Coulton. Possibly my favorite indie song EVER. I think there is a little code monkey in all of us. Have fun with the grind today.

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And that's enough for now.

Guitar Monkey, Brian Norwood

Platypi Online: The Platypus Portal

Delicious, profane fun.

Hall of Douchebags!

I did the "I'm in a band" thing in highschool. So, when I ran across this site over on West's Blog, I just sat back and thanked my lucky stars none of my ugly @$$ bands took an awful publicity shot to enter the grand hall. You never seen so many brick walls in your life. The lampooning of the photos is truly hysterical, if profane at times. But that's rock and roll, man!!!!
And, if you want to jump right to one of one of my favorites...
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And that's enough for now.

Brian Norwood

Platypi Online: The Platypus Portal

My new toy. (Music geek warning)

Well, life has been crazy for me the last couple of weeks. My wife has gone on maternity leave. I've been asked by a ton of friends to work on their guitars (and even been offered a little scratch for it).
I've been doing a lot of design work for Conspiracy of Thought with their new album cover and surrounding promotional material.

But, in all this madness, I thought I'd talk about a new toy I picked up, because I'm really liking it. I picked up a Rocktron Big Crush compressor pedal. I would link to their site, but when I go to it it demands I install Flash 6 of later, despite the fact that I have Flash 9 installed, which tells me that their Safari support is crappy. (quick note, spell check would prefer I use "crappie", how funny is that? Maybe the British spell it that way.)

I currently have 5 Basses, and I use all of them for various things. Their output is all over the place, with the fretless strangely being the hottest output of all. So, I have been relying on a Digitech BP200 floor unit to give me some control over the family. So over the last 2 years I've come to notice, I've been writing patches for the BP that involved various levels of compression, the volume pedal, and as little coloration as possible. And, more to the point, I have never used a distortion pedal on my bass for any purpose other than to get a laugh out of another musician. And I think the BP has about 5 million distortions built in.

So, it occurs to me, I already have a fantastic volume pedal in the Dunplop High Gain Volume pedal. Surely I could get better results with that and a dedicated compressor than running through a floor rack where the compressor is only one of a ton of effects they tried to cram in there.
In short, I love it, It is very clean and quiet. It tames my thunderous slapping and aggressive plucking, to the point where my more delicate fret work is not lost in the mix. (I know, you are wondering "What delicate playing is he talking about?"). So, while now I am running 2 pedals instead of one, I am carrying a lot less baggage. Not to mention I can no longer accidentally step on the patch pedal and bring up the "cosmic distortion space echo" patch in the middle of an R&B tune.

I may work the BP back into the mix somehow someday, but for now, less really is more.
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And that's enough for now.

Brian Norwood

Platypi Online: The Platypus Portal