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About bluesman

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    Crusty Old Curmudgeon

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  1. I don't know if Fre:ac will normalize, but you can use software like FFmpeg to normalize FLACs without converting to WAVs first (which you'd have to do with Audacity, for example).
  2. There's simply no audiophile-quality toilet paper out there yet. This may be a great new market niche for boutique accessory developers, if they can find a way to gather and analyze the requisite data. One roll might make a great tunable port. Multiple rolls could be assembled into a parameteric isolation stand. And a case could be the next big thing in damping filler for speaker cabinets. We're on a roll!!
  3. I don't have to like everything to be open to it. As a classically trained pianist and a professional musician for 60 years (guitar, bass, keyboards), I've been hired to back a wide variety of acts. I have decent historical and contemporary knowledge of the spectra of genre and content of music. I can even stretch my imagination far enough to accept that the fuzzy drone Cisneros is playing there could be considered a modern take on the pedal tone and that it might really make the right tunes pop. Sadly, the only such efforts I've heard to date remind me more of Rachmaninoff's Prelude in C# minor played painfully slowly on solo fuzz bass. I understand the drone band concept, and I like some of what I've heard. But virtually atonal buzz bass seems to be far more physical than musical in its effect on the listener / feeler. And I bet Adolph Rickenbacker is turning over in his grave
  4. You’re describing the sound escaping from the low rider with 24” subs in the trunk that’s next to you at a stoplight. Or it could be turntable rumble, or 60 Hz hum - but I can’t really consider what you describe as an instrumental contribution to music of any kind. Of course, it could also be the result of a blown speaker in the bass amp, in which case a recone might reveal some stellar playing
  5. Actually, he is if your hint ""Free your mind and your ass will follow" is to be followed. As I suggested in an earlier post, BIlly Bass was on that album, not Bootsie.
  6. See my response below. I’ll look it up when I get out of bed in a while - I don’t hunk he was on that album. He’s absolutely a great bass player. If he weren’t such a shy wallflower, maybe he’d stand out a bit more..........
  7. I don’t think Bootsy was on that album. If I remember right, Billy Bass was on the first 4 and that was #2. I don’t own any, so I can’t look at the cover notes.
  8. Billy Nelson was Funkadelic’s first bass player, so I guess that’s your reference. I wouldn’t put him up there with the top tier, but I wouldn’t kick him out of my band either.
  9. Art Tatum's left hand?
  10. Agreed! What amazes me is how well and how often listening at home (and even in the car) opens a window in my mind through which the real thing pours in. I remember sitting at a stoplight one day thinking how good the music sounded in my car, when I realized that it didn't actually sound that great. I was "listening" through the stock audio system to what I knew the performance sounded like, and what I heard in my head was what I knew had gone into the mics rather than what was coming out of the speakers. I continue to do that today, having learned to separate what I wanted to hear from what I was actually hearing. Certainly, even those who have never heard a live performance can derive great pleasure and satisfaction from reproduced music. My issue is with those who confuse sounding "live" with sounding like the original performance, when they don't know what the source material sounded like live. There are a lot more recordings out there that sound like there are instruments playing in the room with you than there are that sound like the instruments that were recorded are in the room with you. As we say where I come from, 'tis better to have heard only an mp3 than never to have heard at all.
  11. What's even sadder to me is that many (if not most) have never heard live performances of the music they use to judge reproduction systems. Hearing 'Trane, Rollins, Getz, Griffin and so many others with uniquely beautiful tone live in a small, unamplified setting lets you understand and appreciate the variety and nuance in the sound of an instrument. In their hands, the tenor sax was many instruments each with a clearly recognizable sound. Similarly, the alto was born again each time it was played by Desmond, Cannonball, Art Pepper, or Parker. And there's so much variation in the sound and playability of even the best pianos that the instrument can alter the performance greatly. For my 21st birthday, my girlfriend took me to Paul's Mall in Boston to hear Wes Montgomery at a stageside table. I was about 3 feet from him for the whole night and able to directly hear the gorgeous tone of his Gibson L5. Yes, it was amplified thru a Fender Twin pointed away from me - but he hated amps, used them sparingly, and never found one that pleased him. That night was absolutely thrilling! Tone is in your chops as much as in your instrument, and this is hard to understand or appreciate without hearing it live in a small setting - huge halls and serious sound reinforcement simply don't let you appreciate the intimacy of a player's interaction with his or her axe. It's difficult (if not impossible) to compare recordings to live sound without knowing what the source sounded like, and it's impossible to really understand how great a lot of music sounded solely from recordings. This is still true, and there are many many great players you can go out and hear live now. I was fortunate enough to be able to hear so many greats all through the '60s and '70s - but the best performance for me is always the next one.
  12. Jud added him early on.
  13. Let’s not forget the inventor of the funk bass technique known as slap & pop - it was originally called Grahaming, after its inventor Larry Graham....
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