Moe_Syzlak

Just to be clear, ii-V-I in C is Dm-G-C.

D'oh! That's what i get for posting on theory when home sick with a head full of the 'Tussin.

Thanks for the correction.

Well I haven't heard the straight sbd, but I do feel that I, personally, would like it better than this. This is not bad, don't get me wrong. I just prefer the crispness and the aud elements are very apparent to me. FWIW, I have very unusual hearing. I have a congenital hearing "disorder" where I hear high highs and low lows well above normal and hear the mid-range below normal. This makes it difficult for me to hear individual voices when there is a lot of background noise and causes me to very clearly hear the compression in MP3s below 256kbps (at least that is where I try to set my minimum after having done many listening tests). I have always assumed this causes me to much more critical of aud recordings than the average listener. I have NEVER heard a matrix I prefer to the sbd. If the sbd mix is crap, generally the matrix is crap too and I'd prefer to live without it. If the sbd mix is good, ANY aud mixed in generally has adverse effect for me. Also, I have never heard that bands only want matrix mixes traded. That's new to me. I know many live bands that will set up ambient mics at the sbd and mix that into the sbd feed (which I'd also prefer to do without ), but never that bands prefer fan-made matrix mixes be traded. Learn something new everyday.

That's probably more the result of the completely sterile, no warmth sound of the post-Brent GD. Seriously though, I'll be the auds of the same show sound gawdawful and I doubt you'd improve the mix much by adding aud to the sbd. Sorta like the old air freshener ads. "now it smells like BO and roses!" I feel you end up with the worst of both worlds most often.... at least to my ears.

FWIW, the solo version (of Muzzle of Bees) I am working from (don't have the date) is capo 2. That picking patern is tough. From the sounds of it, Tweedy struggles with it too.

I agree that when bands play small rooms, you can sometimes end up with very poorly mixed sbd recordings, but I don't think that's the case here (or often in rooms larger than a bar). I have never understood people's preference for aud recordings, but to each his own. It's rare that you don't hear some crowd bleed through the on stage mics to give you that live feel and if I could improve on the boomy, often muddy sound in most venues and have it sound as clear as my home stereo, I would. Why wouldn't you!?! But again to each his own.

I've always advocated (although usually when someone asks about learning modes) the following order of understanding:

- Make sure you know your fretboard (be able to find any note on any string instantly)

- Understand intervals

- Understand triads (basic chords)

- Understand arpeggios (for extended chords; adding the 7th for example)

- THEN understand modes

Chords are just stacks of intervals and scales (modes) are really the same thing as chords.

As far as understanding chord progressions, well that's a bit trickier. Sure there are standard progression such I-IV-V or the ii-V-I in which the same notes (from a common scale) comprise the chords. The Circle of Fifths is probably the best place to go to understand how these common progression are built. In the ii-V-I in C, for example, you have Bm-F-C because it is built on the major scale and in the C major scale the "two" is minor etc. But you could build a progression on any mode and get different results. The fact is this is all just a guide and a progression is good if it sounds good to you. Music theory is really just about organizing thoughts and I don't look at it as hard and fast rules. There are plenty of songs that change key with every chord change, for example.

Okay, that's probably more info than you wanted (and I've probably confused everyone as this was not the most eloquently written post ever), so I'll stop now

Looks fun! My party last night was off the hook too.

AJ Jacobs is hilarious.

And BTW...Don't be shy, if you see unmarked artwork over in "Now Playing" that piques your interest just ask who the artist is and what's it like.

Yeah thanks, I will. BUT I didn't intend this thread to be just making a recommendation for ME. I hoped people would post something that they are particularly enjoying at the moment AND write a little synopsis. There is SO much posted in the Now Playing thread that it is impossible to try to hear it all and perhaps this is place that will allow folks to get a sense of what the music might sound like before seeking it out to hear for themselves. So I hope people will post what THEY enjoy with a mini-review, not what they think I (or anyone else) would enjoy. Make sense?

Yeah, I know what you mean. Despite the fact that I grew up with the Grateful Dead and wasn't a huge "modern music" fan in the 80s and early 90s, I didn't really "get" Wilco until YHF. I've been through just about every musical phase there is and now do enjoy a lot of the so-called modern music that seems to be so popular around here. I have the releases from last year of all of the bands you listed, although only the National really grabbed me. The Caribou, Animal Collective type music I keep trying, but it really isn't what I'm into these days. I think the stuff I most enjoy these days is what could be loosely described as descendant from the Flaming Lips (at least Soft Bulletin-esque Flaming Lips). I like the "epic-ness" of it (for lack of a better word) and the incorporation of rich arrangements. Although that is hardly how I'd describe the National, so what are you going to do. Ha!

By the way, I have been creating playlists in Seeqpod for the recommendations people are making. So far I think I dig Man Man the best. If you haven't checked out Seeqpod, do yourself a favor and check it out ... NOW! Great way to discover new music.

http://www.seeqpod.com/search/

One of the big reasons I visit this board is to see what similarly-minded music fans are listening to. I check the Now Playing thread probably more than any other. BUT that thread is often just an image of the album cover (sometimes impossible to even tell what album it is) and rarely much of write-up about what the music is like. I thought this thread might provide a spot for a more detailed description of music that is currently under your skin that you think others might enjoy as well. I'll start.

While not new (about a year old), Menomena's Friend And Foe was my favorite album of last year. Unusual structures, fully realized, lush and dynamic. No fewer than five songs on this album have held the position of my "favorite song of the moment" at various times during the year (Air Aid, Evil Bee, Muscle n Flo, Boyscoutn', Rotten Hell). Even the lesser songs on this album I can listen to over and over. The beats are extremely interesting and powerful and, while I am still not sure I fully understand their unique composition methodology (using a device called the Deeler), they seem to have perfected it with this album. I can't wait for their follow up.

I haven't heard much so far this year, but so far...

1. Malkmus - Real Emotional Trash

2. Cloud Cult - Feel Good Ghosts

3. The Raconteurs - Consolers Of The Lonely

4. Gnarls Barkley - Odd Couple

After one listen, You Don't Understand Me, Old Enough, The Switch and the Spur, and Carolina Drama are the stand-outs for me. I feel like a lot of this album sounds a lot more like the White Stripes than Broken Boy Soldiers did. BBS was one of my favorite albums of '06. So far, this one isn't grabbing immediately the way that one did, but perhaps, as has been said, this one is more of a grower.

Exactly! I don't think there were any other children that survived the crash besides them and Walt. Unless I am forgetting something. Isn't it 48 people that survived? I'll have to check lostpedia.

Okay, so let's assume those were the only kids taken. There were still other people on the list taken, right? Adults? It just seems like no one is paying any attention to them. As far as no one in the front knowing people were taken, I don't buy it. Aside from Bernard, Ana Luciia, Eko, Libby were living with the front folks for a bit. Never did they tell the fronties the stories of the first few nights when tailies were taken n the night? Never did Ana Lucia and Eko tell Jack and his clique about the list they found? I don't buy it. They know people are missing (at least two of them kids) and they seemed completely prepared to leave the island without them without giving it a second thought.

You mean the little boy and girl?? I'm pretty sure their parents weren't on the plane.

Well not only them. There were, what, 250+ people on the plane? How many survivors? The kids were on Ben's list and were taken in the first couple of days. Were there no parents? Does it seem in keeping with Jack's character, for example, to just abandon them? It's like the Losties totally forgot about them.

One thing we were talking about is where are the kids? I know they are supposedly at the temple, but why weren't there some people that when they are thinking they are about to be rescued don't say "what about the kids"? Presumably some of the background Losties are the kids' parents, right? Wouldn't they be freaking out about leaving the island without their children?

Has anyone here been to the Pikes Peak Center before? I just picked up some row H tickets. Is that 8th row or 16th? Thanks!

I have but it's been 15 years. It's not huge, but also not small. I saw Phish there in '93 and remember feeling like it was a big venue for them then. There are cool little opera boxes along the sides that aren't the best scenario for a bunch of whacked out Phish fans. I would imagine Wilco would be a little better in that respect. I honestly can't remember if that show was GA or not. If it wasn't GA, I don't think I ever went to my actual seat.

I think H is 8th row, but I can't be sure. I'll ask the lady friend (who is originally from Colorado Springs) if she knows and post an update if I find out.

ETA: Apparently it IS 16th. There are 8 rows of double and triple letters before going back to single letters.

We got 4 tickets dead center, 8th row ORCH for Colorado Springs! Woohooo! I haven't been to the Pike's Peak Center since seeing Phish there in '93. Really looking forward to this show.

Listening to a mix I just made. Quite atmospheric if I do say so myself....

Star

Whatever your prejudices are regarding "jambands" and such, I would recommend you find the studio version of the Phish song "Billy Breathes" and let your ears listen to one of the finest guitar solos ever committed to tape.

A very nicely arranged solo at that. I would say listen to the studio Limb By Limb for a more straight-forward solo as well. There is some arpeggio work in that one that makes my head spin.

Also, for those that said they like guitarists that are more subtle, check out Bill Frisell. He's been mentioned in here a few time (but not nearly enough).

Okay here's mine (I know I can't count):

inpo

Bill Frisell

Jerry Garcia

Trey Anastasio

Rodney Jones

Tony Rice

Django Reinhardt

Steve Morse (with the Dregs at least)

David Gilmour

Mark Knopfler

Grant Green

Jimi Hendrix

Wes Montgomery

Joe Pass

Lenny Breau

Pat Martino

Jonny Greenwood

SRV

Tal Farlow

Mickey Melchiondo

John Fahey

Roy Buchanan

Leo Kottke

I agree with that. I think O'Rourke adds a lot.

 

And on a side note, I'd love to hear his mix of SBS.

Agree with this completely. I liked BAitUSA better than SBS.... MUCH better. I am also a huge fan of O'Rourke's solo output too, though. The funny thing is I like most of the songs on SBS a lot, but the arrangements seem lacking somehow with the exception of You Are My Face. I think the absense of O'Rourke is real issue (at least for me).

but he could copy the files to another folder, and change those, leaving the originals as is.

This is, in fact, what I did. Thanks!

So if I change the extension will it screw up my seeding on Dime?

I still have these tickets available.