Author Topic: John Judge new custom design the Raven Resonator Bass (Read 1019 times)

sonicus · « **Reply #60 on:** June 04, 2009, 07:16:48 PM »

Yes John , I agree this thread has taken on life just like a good jam !

And the good l' Grateful Dead have incorporated not JUST counterpoint but ALSO the use of Poly-Rythms! in their improvisational technique.

sonicus · « **Reply #61 on:** June 04, 2009, 07:17:53 PM »

Yes John , I agree this thread has taken on life just like a good jam !

And the good ol' Grateful Dead have incorporated not JUST counterpoint but ALSO the use of Poly-Rythms! in their improvisational technique.

john_judge · « **Reply #62 on:** June 04, 2009, 09:31:26 PM »

Yes the Dead do indeed apply Poly Rythm and counterpoint as did the group Gentle Giant Poly and Tri- modality .

Nothing like a good talk on music theory to unleash the beast of discussion, A dash of treble Clef , a dash of Bass Clef and 10 more sets of ledger lines and your on your way to Orchestrating yourself a Score.
Create, Create,Create thats what it's all about, but without good comprehension it's hard for a person to unleash their full musical potential and that is why I believe in theory. I may not completely use all of it all the time but I do set some guide lines while I play and compose. If you never tried it than you might want to consider diving into some of it, you will be amazed of how you'll start to hear things and notice things in music like never before and how much better of a writer you will be.

olieoliver · « **Reply #63 on:** June 05, 2009, 06:09:42 AM »

I couldn't agree more John. Early on in my playing I relied totally on my ear and paid no attention to the theory behind music. Didn't care to read, learn my modes (even know what the heck a mode was for that matter), pay any attention to harmony and chords..... But the last 15 years or so I really grew up as a musician. The larger your vocabulary the better equipped you are to tell your story.
Back in the 60's and 70's a bassist could get by without knowing a lot about music theory, but there are so many great bassist out there today that you really need to have an ?A? game to stay busy working.
Being able to play fast and fancy chops is OK but knowing WHAT to play will get you much more work.

Now back to the topic, I was really impressed with the resonator that you showed me in Chicago. I'd love to see how it sounds in a fretless bass. It might add more of an acoustic double bass sound to it. Be cool to hear.

OO

dadabass2001 · « **Reply #64 on:** June 05, 2009, 06:15:19 AM »

Bela Fleck & The Flecktones The Hidden Land CD starts with a JS Bach composition: Fugue from Prelude & Fugue No. 20 in A Minor, BVW 889 (I don't know what that last bit means ) The contrapuntal movement is obvious on this track.
Mike

adriaan · « **Reply #65 on:** June 05, 2009, 07:55:01 AM »

Mike, it's actually BWV, not BVW - not a BMW/Volkswagen hybrid by a lkong shot. It's short for Bach Werke Verzeichnis - Index on Bach's Works.

Mozart has KV for K?chels Verzeichnis - K?chel's Index, Schubert has D for Deutsch.

john_judge · « **Reply #66 on:** June 05, 2009, 10:45:34 AM »

THANKS OLIE, I have actually given thought about making the top plate thicker so it would have a semi-hollow body effect, so the resonation cavity would be quite large for air and sound to move underneath it, so it would be like 2 Alembic pick ups and the hum canceler then the resonator circuit over that in a slightly raised top maybe having a small arch to it. Alembic tops are 1/4 inch maybe make it 1/2 or just cavity out the whole body under the top plate is what I am thinking.

But yes I did think about it being fretless, but set up with a arched bridge like a mini upright feel with a floating top fingerboard like an upright.

P.s. if you can hear us...the 3-B's need to take a bow and you too Mozart! your works carry on through centuries of time!

john_judge · « **Reply #67 on:** June 06, 2009, 08:26:32 AM »

Well getting ready to let this thread die out here, anyone with any late minute comments about the Bass design feel free to do so, glad to hear your input thanks again everyone, John

john_judge · « **Reply #68 on:** June 12, 2009, 05:11:18 PM »

Hello everyone just got in, Just wanted to say to those who were interested in hearing the raven sound, I put together a little funky groove clip that you can get an Idea from, I mixed the Bass extra hot against the other instruments so you could hear it and the next clip I do will show exactly the difference in breaking down the sound. The Bass in this recording is Flat with no EQ.
Anyway if you want to hear it email me by clicking on my name and put in subject block Raven request and I will MP3 the clip to you. Thanks ..John Judge

serialnumber12 · « **Reply #69 on:** June 14, 2009, 08:39:59 AM »

Hey john i got your email .........i like that clip!

senmen · « **Reply #70 on:** June 14, 2009, 08:46:57 AM »

John,Ray,
yep me too.
John had done me an extra mix with the bass a bit more upfront. I really like that sound.........

Oliver (Spyderman)

lbpesq · « **Reply #71 on:** June 14, 2009, 12:47:11 PM »

John:

I don't know much about resonators other than Dobros and National guitars, but the clip sure sounds good and funky! The bass is very distinct, just the way I like it.

Bill, tgo

pauldo · « **Reply #72 on:** June 14, 2009, 04:43:32 PM »

Agreed!
Fun and Funky.
John Judge - was that bass part played fingerstyle?

john_judge · « **Reply #73 on:** June 14, 2009, 05:01:54 PM »

Yes all fingers but I do some techniques with my thumb and first finger to give me a sort of picked Harmonic technique and I do taps on the finger board and thumb nail plucking while holding the index finger against the string for Harmonics, just have to show it to you paul, it's a weird style of playing from over the pickup's to anywhere from the middle of the neck and down with tap on's..it just gives me a variety of stuff for technique that way!