Buddha
267 posts
Apr 19, 2009
3:40 PM
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I can't express how important it is to be able to play with complete control and dynamics when you're soloing. I have heard very very very few harmonica players use dynamics within a solo. By dynamics I mean contrasting points...loud soft, fast slow etc...
he is a snippet of one of my solos that illustrates being dynamic. Listen to the phrasing and how I leave space between some notes, how I stretch out other notes, wail on some, play slow and then fast and all within a bluesy context.
But do this stuff you have practice lots of different techniques. Some people think, I play fast, others think I play slow. Some people thank I CAN'T play fast. The truth is, I play exactly they way I want to. I can play as fast or slow, intense or mournful as anybody but I chose to be me.
Enjoy.
http://www.harmonicapros.com/music-tools/dynamics.mp3
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Oisin
206 posts
Apr 19, 2009
3:45 PM
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Why is it important Chris?
Oisin
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Patrick Barker
238 posts
Apr 19, 2009
3:46 PM
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nice clip- a true master knows when its time to hold a note out and doesn't just play fast constantly, no matter what his abilities are.
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"Without music, life would be a mistake" -Nietzsche
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Oisin
207 posts
Apr 19, 2009
4:02 PM
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I'm at work at the moment and they block certain websites so I can't listen to the clip, but I think I know what patrick means.
On the way to work tonight I was listening to Big Walter playing a real old version of "Easy", lots of reverb and atmosphere. When I just listened to it again I can hear what you mean. He really attacks some notes and octaves and then eases up, plays a few quick notes fast then holds some of them.
What's good about this post is it makes you listen to songs in a different way.
Oisin
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Blackbird
67 posts
Apr 19, 2009
6:01 PM
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Couldn't agree with you more, Chris. The best players are those who can play whisper-soft, or ear-busting loud when the music calls for it, and *still* play the note or style or technique as well at any volume, or pace. When the bandleader gives you the hand to turn it down, so he/she can talk over the music, your bends, blows, overblows, and tempo all have to be the same as when you were playing normal volume. Same as when going balls-out on the big finish, or whatever - without the control and mastery of the notes and techniques, you're only halfway there.
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Buddha
268 posts
Apr 19, 2009
6:17 PM
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Thanks Blackbird. What you talk about is precisely the reason I prefer on/off switches to volume control on microphones. I can control the volume all I want from within and it's nice to shut the mic off if I'm moving to the acoustic set up or just waiting for somebody else to play a solo.
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MJ
30 posts
Apr 19, 2009
6:36 PM
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"Thanks Blackbird. What you talk about is precisely the reason I prefer on/off switches to volume control on microphones. I can control the volume all I want from within and it's nice to shut the mic off if I'm moving to the acoustic set up or just waiting for somebody else to play a solo." Buddah
I agree with you on tha point you mention as to creating your volume from within. I will note however that a volume control on your mic will allow you to get the best sound from the mic and amp setup. by cranking the amp to max and keeping the volume control turned down a graet overdriven tone can be made without feedback. By turning the amp to 3 or 4 and fully opening the volume control on the mic, a much different sound or texture of sound can be produced. I consider the volume control on a mic as a tool for tone. The volume at which you play is best achieved as you state, from within.
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Buddha
269 posts
Apr 19, 2009
7:14 PM
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So far there has been nobody that can convince me a volume control is worthwhile. I spent a very long time looking into it. I've talked with many of the best players on earth and none of them could show me a reason to switch. I do know that a few of them have switched to my way of thinking. :-)
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MJ
31 posts
Apr 19, 2009
7:57 PM
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With all due respect, I was not trying to convince you of anything. I was merely stating my own humble opinion.
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Buddha
270 posts
Apr 19, 2009
8:02 PM
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opinion respected.
I'm not refuting you, I'm jsut saying I have a very defined way of how I do things. I try to do what is best for me first and then student after... I don't want people to blindly get a mic with VC just because they thnk they need it when they don't.
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Zhin
214 posts
Apr 19, 2009
11:11 PM
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I use a VC because I need it.
I recently gutted my Blues Blaster and turned it into what I'd like to call the "Blues Bastard" because I retained it's original paintjob. It's now got a NOS Shure CM in it.
I tried it first without the volume control.
Solid tone.
When I took it to some jams, I found that I was having problems with cutting into the mix.
I found that no matter how much I tweaked my amp and PA, the rest of the boys in the band have a tendency to turn up the volume as the night goes by. This happens with almost every band I play with.
So at the beginning of a jam I'm cutting through fine. After about 3 songs, I'm already being drowned out even if it's my solo space.
The problem with these guys is that when they hear a harp cutting into a mix they are afraid of being drowned out so they feel they always gotta turn it up little by little. I don't think it's intentional.
So the only way it's worked for me is that I put the volume pot in there. Get the biggest loudest volume I can with my setup. Then turn it down a little on the VC.
This way the band doesn't feel too inclined on turning it up and even if they do, I still have that extra volume to use. When I'm just playing fillers keeping that volume a little down is good.
When it's solo time, I turn the VC to full, and get a volume that sits right in front of the whole band without feedback. Then when I'm done I turn it down again and play in that more subtle sounding tone. The guys love it and it's easier for them to deal with me in the mix.
I know if I have technique I could just regulate my volume by breath but when the guys keep turning it up there's no point because at the end of it I'm playing too hard without cutting through.
Having a VC and showing it off to the other guys in the band also gives them more of a reason to trust me when I ask to turn up my levels on the PA. They usually don't let me because they think it'll get too loud.
This explains why some of my videos, the harp is totally drowned out. It's all this BS I have to deal with. The VC has really helped!
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My Videos
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Zhin
215 posts
Apr 19, 2009
11:13 PM
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Though I have to admit, the volume pot did take a tiny bit of tone away. You can't avoid it if you add a VC. That IS something to think about.
But yeah, as far as solo dynamics are concerned. I agree with Buddha 100%.
The sample clip is pretty @#$%'in mind blowing by the way. You're full of surprises Chris.
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My Videos
Last Edited by on Apr 19, 2009 11:14 PM
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harmonicanick
247 posts
Apr 20, 2009
1:52 AM
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I added a VC to my old shure mic, mistake, I had it taken out a month ago for the reasons Buddah explains.
Zhin your problem is the guys you are playing with.
Last Edited by on Apr 20, 2009 1:57 AM
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MrVerylongusername
257 posts
Apr 20, 2009
2:02 AM
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I've never seen the point of a volume control. If you need to control feedback, then EQ and amp placement are far more effective.
If you need to play quietly, then learn to play quietly. It's a completely different dynamic; soft, gentle and subtle. It's not the same as playing normally, but turning the volume down.
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MrVerylongusername
258 posts
Apr 20, 2009
2:36 AM
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Zhin - I've been thinking specifically about the problem you mentioned. It's a situation I've been in. The band turns up as the gig goes on - usually a combination of adrenaline (if it's going well!) and tired ears.
Two things I'd recommend:
1. Never try and run your own desk. No matter how good a soundguy you are, it's impossible to effectively mix from onstage. In our band, we tried and failed. We contacted a local training studio asking if any of their students wanted live mixing experience. We ended up working with two of the best engineers I've worked with (and that includes pro outfits). Of course it's another mouth to feed, but it's worth every penny.
2. In Ear Monitors. Best thing we ever invested in. You hear exactly what you want to hear whilst keeping the backline volume low. A good set of earphones (Shure E series are great) adds to the cost, but makes a huge difference. I find they actually reduce ear fatigue because of the onstage noise being lower, and because of the sound isolating effect of the earpieces cutting out the high energy clutter like cymbal crashes etc... They take some getting used too, and because your in ear mix is very different to FOH, you need to have a soundman you can trust.
When we play. there are a minimum of 11 open mics on stage (3 horns, 1 harp, min. 2 on drums, 2 amp cabs, 3 vocals.) The kind of venues we play, we very rarely get to ring out the PA properly. With floor wedges the harp and the brass would be really hard to tame - it was feedback nightmare; With IEMs, nothing!
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Maciekdraheim
32 posts
May 16, 2009
12:05 PM
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I was thinking of making an external volume control. It may be useful and possibility to play without it make more versatile. I have a vintage ceramic Astatic 10-C with the minimum impedance 1 Megaohm (1000 kOhm), due to instruction sheet. I also have a XLR - 2 pin hot socket in my mic. What typ of pot should I use to match the mic?
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sopwithcamels266
43 posts
May 17, 2009
9:35 AM
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First time Ive had a look at this post.
Man,I think that this post is probably one of the must important posts Iv'e seen to date on the forum for all of us.
I think it should be implemented in all types of music for maximum use of self expression and collective expression.
More often than not too many bands in all different styles either simply neglect it,or are ignorant to it.
To my way of thinking it is an integral part of the player and players.It should be intutitve.
Even fronting a good pick up rhythm section there should NEVER be any need for eye contact.
Lack of dynamics is often in my view THE major fault in blues bands.
Playing too loud is another, and instruments playing over each other, which is basically a lack of education.
How the hell can a blues player jazz player rock or any style still attempt to deal with syncopation or relax to be creative when they are fighting each other and ramming one dymamic to an audience.
You come in at top end of dynamic and keep it there.
First tune not bad, second tune OK third tune you start to loose their attention for sure.
This original thread by Budda is one of key stones to the grail, EXCELLENT
Last Edited by on May 17, 2009 9:38 AM
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Buddha
437 posts
May 17, 2009
10:21 AM
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Thanks SOP!
There is one "blues" band that does not lack dynamics and that's Jason Ricci's Band. Man... that's one helluva band lead by one helluva artist.
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TheBlackNote
25 posts
May 17, 2009
10:23 AM
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I see what you mean that wail at the end drove the point home.
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myspace.com/theblacknote
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Fredrider51
57 posts
May 17, 2009
10:35 AM
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hi Black Note if you are from Philly please e mail me
Fredrider51@aol.com .There is a harmonica club in Philly i just started we are meeting Wednesday at 630 on City Ave Last month Jason Ricci came to it
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Buddha
438 posts
May 17, 2009
10:36 AM
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This posted clip is also a good illustration of playing in the moment. It's only a :30 clip but if you listen closely it's very very dense with music, technique and everything else but sounds elusively simple because of good phrasing and dynamics.
listen to how I stretch the double stop (playing two notes at once) and the judicious use of the delay effect at :03. Any more delay effect and the moment is ruined. None of this was planned but within fractions of a second I thought to kick on and off the delay for effect.
Then there is the speed run to the top at :20 sec but after a long and drawn out note that emphasizes the the flatted 3rd in current chord.
The speed run build energy to my climax note - the powerful blow 9 which is the last nail in coffin. That note is held to release all of the energy and tension that is built through out the solo as the rest of the band steps down in volume. You can't see it but I most likely was using my hand to make the band lower in volume as I am letting that 9 blow scream.
This what playing in the moment is all about, everything is in slow motion and the player get's to be an artist. You don't need to have your own band to be an artist within a band. Your solo is your moment to paint a picture not too say HEY LOOK HOW GREAT I AM."
Last Edited by on May 17, 2009 10:48 AM
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TheBlackNote
36 posts
May 17, 2009
6:32 PM
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True just gotta zone out and zone to say what you gotta put out.
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myspace.com/theblacknote
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