bass synthesizer


[FOR SALE] Experimental Exposed 1972 Spring Reverb Analog Effects Unit

Available to purchase on etsy here

View demo video on youtube here

The perfect box for generating dark, LoFi, earthy tones. It can make a volca bass scream like an overdriven 303, It can make any modern synth sound like it is strait out of the 60s, It can make a bass guitar produce spacey low frequency earthquakes. This box can also produce a wide variety of sound effects, even with no input signal . Since the reverb spring is completely exposed so you can play this like some weird and wonderful instrument and the built in piezo allows a whole new level of creative experimentation. 

Hi! You told that we can send our OCs here, so here they are.
These are all my OCs! And they are music band. My english very bad but i’ll try to describe them shortly.

Tiny fat man’s name is Fred, he’s a weaboo with anger issues. He has very low self esteem and he’s kinda edgy. Guitarist of the group. (he/him)

Tall snow white boy is Ethan, he is lazy, weak-willed and VERY stupid but still friendly and optimistic! He is second guitarist and sometimes vocals. He’s not good at music tbh (he/him)

Girl’s name is Elizabeth, she is very trustworthy and calm, sometimes too much pedantic but anyway she is very good person! Plays synthesizer and sings sometimes. In a In platonic-romantic relationships with Ethan(she/her)

Dude in glasses is Maxwell. He is egoistic pissed off narcissist. He’s talented and insterestic person despite he’s such a badass. Can play guitar, bass, drums and synthesizer a bit. Ladies man somehow. Ex drummer of band. And yeah he hates Fred and Fred hates him. (he/him)

Huge monter’s name is Spoon. He’s an alien who loves humans very strong. He is childish and naive. Spoon is hyperactive as fuck and very smart. New drummer of the band. Also he lives in Fred’s house (he/him or they/them)



On this day in music history: May 29, 1982 - “Let It Whip” by The Dazz Band hits #1 on the Billboard R&B singles chart for 5 weeks (non-consecutive), also peaking at #5 on the Hot 100 on July 17, 1982. Written by Reggie Andrews and Leon “Ndugu” Chancler, it is the biggest hit for the R&B/Funk band from Cleveland, OH. Originally known as Kinsman Dazz when they form in 1976, they take their name in part from the then recent R&B/Pop smash “Dazz” by Atlanta, GA based band Brick. They are signed to 20th Century Records in 1978, releasing two albums (the first being co-produced by Philip Bailey and Ralph Johnson of Earth, Wind & Fire) for the label with minimal success. Changing their name to The Dazz Band in 1980, they sign with Motown Records. Of their first two albums for the label, “Invitation To Love” and “Let The Music Play”, only the latter produces a minor hit with the single “Knock, Knock” (#36 R&B). For their fifth album “Keep It Live”, The Dazz Band work with producer and songwriter Reggie Andrews. Prior to becoming a staff producer at Motown, Andrews work as a student music teacher at Locke High School in Dominguez Hills, CA where some of his former students include future star musicians such as Patrice Rushen, Gerald Albright and Leon “Ndugu” Chancler. Having previously collaborated on Dazz’s “Let The Music Play”, they work together again. The pair begin thinking of writing a song that could also become a dance, when the idea for “Let It Whip” comes. They begin putting the track together using a Linn LM-1 drum machine and a Mini Moog bass synthesizer. With the band adding their instruments and vocals to the basic track, it takes nearly a month to complete the song. Released on February 12, 1982, “Let It Whip” is an instant smash on R&B radio, quickly crossing over to Top 40 pop radio. The single spends four consecutive weeks at the top, before being bumped by The Gap Band’s “Early In The Morning” for one week on June 26, 1982. It rebounds and spends more week at number one on July 3, 1982. “Let It Whip” earns The Dazz Band a Grammy Award for Best R&B Vocal Performance By A Duo Or Group (tying with Earth, Wind & Fire’s “Wanna Be With You”) in 1983.

anonymous asked:

Do you have any quotes or any parts of interviews where John talks about Josh? Thanks :)

“We started hanging out and at one point we were having these conversations - this was at the time of Californication - that I felt like there were a lot of sides to me, musically, that I wasn’t getting a chance to do in the Chili Peppers, amongst them more punk type or more electronic type things. It didn’t seem like either of those things were getting a chance to go anywhere in the Chili Peppers. We’d talk about doing more electronic things or maybe we’d play more punk type things but they’d never make it to the record. I felt like I wanted drummer who played more artistically rather than just bashing the drums all the time. My favourite drummer is Stephen Morris of Joy Division and New Order, and for him a drum part is not just keeping time; it’s a thing that weaves in and out of the music. When I said this to Josh, he said, “Well, I play drums like that.” I didn’t even know he played drums; I thought he was a guitarist. Eventually, we started working on stuff together and I started using him to help me with my demos of my songs, to play drums and to do whatever else he wanted to do on them, any other ideas that he had. He’s really talented on all instruments; bass, drums, guitars, vocals, synthesizers. So I have a lot of fun recording with him because he’s not only my really close friend and a really funny person to be around, he’s really good on every instrument.“ 

“He’s simply a very talented person and has been a very close friend for the past four years. He’s one of the very few people who I really like to spend a lot of time with. In many respects he’s the person who is closest to me and with whom I can speak honestly about everything. His opinion is important to me and I value it a lot.”

My friendship with Josh is something I’m very blessed to have. To have experienced so much closeness through hearing music together as well as playing music together is one of the main things that has given meaning to my life.” 

“There’s no intense verbal communication when I’m working with Josh. He understands my music and knows where it comes from… I like letting him do his own things and then find them out in a mix.” 

“It’s true that Josh Klinghoffer helped me a lot. I met him 5 or 6 years ago (2004). He was 17 and was opening for the Chili Peppers on some dates with his band. We immediately got on well. We listened to some CDs, we spoke a lot about music, and it was great: he saw everything exactly like me. With the Chili Peppers, you come up with an idea or a riff, but once the others have added their stuff, with all the talent that we know they have, the song doesn’t look like what you thought it would be at the beginning! With Josh, we are on the same artistic wavelength. So it’s very pleasant to go to the end of a song with him, because you know that he shoots in the same way as you and that in the end, the song will be exactly like you imagined it.”