Oh god, I was in a band that had this problem! We have full sets of demos ewhere his bass was turned down because it sounded so bad. The only one that had a decent bass performance was one where I played the thing, and I was the drummer!
If it's a joke, then fine. But in my honest opinion, good avant-garde isn't just random notes played, bashing cords, or just being bad at an instrument, but rather a composed piece of notes and chords and different time signatures not often used, making it sound like it's random at first glance.
Its not really avant-garde, it just sounds like shit. The first thing he showed actually can be interesting sometimes. Pink Moon does that a lot and it makes it a lot better.
+Cybot2966 I don't want to get into a cringe-y debate but most avant-garde doesn't really have a time signature or a key so they aren't often composed, often they are random notes and bashed cords, while some might, most I've noticed doesn't. Game pieces often display that kind of idea, have a look into Cobra by John Zorn it's a pretty accessible introduction to avant-garde experiments.
+Travis Godfrey Evans Don't worry. I completely understand where you're coming from. The definition of avant-garde has changed drastically as well. From some accounts, I've heard that composers like Beethoven, Mozart, etc. were considered avant-garde for their time. I find that interesting. To me, avant-garde is just the unorthodox use of sounds or instruments. So when I talk about it, I'm usually referring to artists like the late Swans (with albums like Soundtracks For The Blind, The Seer, To Be Kind, The Glowing Man) and the late Scott Walker (albums like Tilt, The Drift, and Bish Bosch). I assume that for the most part, most modern avant-garde is just the random bashing of notes and chords, but I've always stuck to the kind that is more composed rather than random. Regardless, for the most part I would agree with you when concern most modern works.
Do more of these reverse psychology bass lessons. I got a kick out of this. I normally watch your videos for the wit, personality, and of course the bass lessons anyways, but this adds a whole new level of fun.
I love the fact that you have to make a conscious effort to sound awful, then years of practice and muscle memory kicks in and you actually sound decent instead
Leiria65 I was going to say, this just seems like a tutorial to get a nu metal bass. Korn is amusingly terrible. I actually like the band because of how weird and stupid the instruments are even if it’s drenched in whiny teenage angst.
Reminded me of Les Dawson, you've probably never heard of him? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-uMOrsWxh5mg.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-4shkC62BPTY.html
Genius teaching method hahaha. Although, tip #2 isn't the worst for me. If you can control a heavy pluck, you can pull a pretty unique tone (not going to work for all music, but suits some styles). #1 and #3 are clearly unpleasant though of course!
Yes, clearly the least awful of all three tips, although when I want a really intense pluck I wouldn't do it like that. I think you can get the intense transient plus a decent tone by striking downward Steve Harris style, rather than forcing the string super hard sideways like I do in this video.
Josh, I love this. Golden rule of teaching: if you can’t make it interesting DO NOT BOTHER ! This, is compelling, and thus extremely good teaching. You’ve omitted the technical lutherian type aspects perhaps a second vid on ensuring your guitar intonation is up the spout, plus never buy new strings, and never ever check the action is still correct?! 5 stars.
These are more useful then you might think. Tip one would be great for mimicking that drop A fret buzz sound when you and your band want to play in E standard.
Just another tip for those of you who may want to be fired from a band. Always noodle your favorite licks during drum sound checks and while the acoustic guitarist is tuning! They love that!
very educational to show and hear what not to do .really effective as far as I'm concerned I just discovered you I will continue to dig into your videos thank you so much .
I sounded exactly like that before taking your course 😃. Ok, honestly, not THAT bad haha. But your course does rock and teaches PROPER technique from the very first lesson.
Hey, over plucking can sound good, look at Geddy Lee, he gets an overdriven almost slap/pop tone. The trick is playing smooth, and then smack the crap out of the strings when you want some clank! The real ticket to crap sound is not muting the strings and letting the unused B string sing.
Tip #2 is my guitarists and drummers every time they try to pick up one of my basses to mess with it... For some reason they have in their heads "big string = pluck harder" and all you can hear is fret noise
To really bring it to the next level down you also need to allow open strings to ring along with what you're fretting. you can totally wreck a mix with this technique for bad.
I always think it's a demonstration of great skill to do something deliberately badly on demand - like the fantastic magician Tommy Cooper. I'm still at the 'sounding bad because i'm playing bad' stage, one day i hope to he able to deliberately sound as bad as i do now.
