Function Bands & Research

Function Bands & Research

Over the years I've been involved with many original bands and artists as a bass guitarist. This has involved me composing whole tracks, or solely bass parts, which I've performed often for free or for little money. While composing, recording and performing our own material around clubs, venues, and even at one point - an arena, has been great fun, the truth is we never really saw much payment for it, and as I've moved into territory where rent and bills stack, these gigs become a bit of a labor of love. Jams with musicians have turned into "will you play with my band at a pub next weekend, it's unpaid but good exposure!", and I've sadly had to turn down a few, with my thoughts geared more towards performing and being able to pay the bills.

A good friend of mine, Chris Cant was offered a paid wedding gig performing covers. Seeing a close friend do this inspired me to look into the possibility of starting my own function band.

My idea is to combine my love for 60's/70's music with live performance, offering package deals with PA and lights for weddings and corporate events. I soon found that playing strictly 60's/70's music appears to be a setback, as observing successful party band setlists, I can see that they play a variety of material. I can however see this setup such as this working at some events, it appears that this would soon become a limiting factor as Ollie Thomas of successful function group The Zuzu Men explains:

"If you limit the styles you play then you're potentially limiting the number of gigs you're going to get"

I continued my research of function bands through observing the standard practises, and speaking in person to members of existing, established groups. I quickly discovered that starting a running a functioning band requires a lot of investment in both time and money. The bassist from a successful function group (which unfortunately I've forgotten the name of now!) which performed at the EasyJet 20th anniversary party informed me that the group had been running for roughly 25 years, and had seen several different members of it's time. Session bassist Samer Sharawi explained to me some of the different function group work from party bands, to cruise ship work and wedding bands. He explained that there is a lot of competition, though in his words "there are a lot of wedding bands...but there are a lot of weddings".

With these challenges in mind, I decided to make a rough plan detailing some of the costs I should expect along the way. Looking into logo design I found a cheap website Fiver.com, which I may use to have a logo designed.

With these risks in consideration, my plan is to take things a step at a time. Ideally I'd like to join an existing function band and learn as much and gain as many contacts as possible. Until then, I will begin to record cover material in my own time and set the wheels in motion for the launch my own group: Sunflower Safari.

Bibliography

Music Radar (2013)  How to Start a Function Band [Online] Available at: http://www.musicradar.com/tuition/guitars/how-to-start-a-function-band-606325 [Accessed on 12/11/2015]

Vintage Compressors

Vintage Compressors

I am a huge fan of Soul, Motown and Funk music of the 1960's and 1970's and have tried my best to emulate some of the sonic characteristics of these recordings in my own work. While researching methods of emulating these characteristics, the role of dynamic range compressors cropped up again and again as a large player in the 'vintage' aesthetic. Phil Spector's wall of sound technique is famously recognisable as a thick, lively sound crafted through the use of layering and analogue compression.

The Vulf Compressor

A band I follow and admire is funk-rhythm group Vulfpeck, of whom I'd been hugely impressed by how good their drums and bass timbres sound, particularly on tracks such as It Gets Funkier. I'd trawled through forums and interviews they'd done trying to find out how they'd achieved this sound. When I saw that Vulfpeck were releasing a software compression plug-in in late 2014, I was curious to get my hands on and analyse the effectiveness of it on my own mixes.

After receiving an assignment brief to write an essay on a piece of 'cutting-edge' technology I find interesting, I chose to use this opportunity to write about the Vulf Compressor; it's features, mechanics, inspirations and uses. I'd downloaded a free trial and compared it with other compressors, such as the Logic Pro Compressor (with Vintage Circuit emulation) and the outboard hardware compressor the Drawmer Mercenary 1968, drawing my own comparisons and conclusions. In the end, I found the Vulf Compressors approach to compression to be fairly intuitive, although applying it's own distinct colour to the sound. While this is useful as an extreme effect, I found the Vulf Compressor to lack in the subtlety of the alternative vintage compressors, working more effectively when used in consideration.

Bibliography

Vulfpeck (2011) It Gets Funkier [CD]. Vulf Records.

Stratton J. (2014) VULF COMPRESSOR /// DEMO 001 [Online] Available at: https://www.youtube.com/watch?v=Y6D9WvwMNr8[Accessed on 1/12/2015]

The Recurrence of 60's/70's Influences in Top 10 Pop Chart Music

The Recurrence of 60's/70's Influences in Top 10 Pop Chart Music

One of the things I've reflected on when I've listened to the radio is the strong influence of music from other generations. As I've mentioned previously, I'm a big fan of music from the 60's and 70's, and it's been refreshing to see elements drawn from this era heard on music reaching the Top 10.

To name only a few recent examples;

• Meghan Trainor - All About That Bass [2014] (50's Rock 'n Roll instrumentation and guitar riffs)
• Pharrell Williams - Happy [2013] (Strong 60's Northern Soul influence)
• Bruno Mars - Treasure/Uptown Funk [2014] (Bass driven 70's Disco & Funk style)

I believe these influences come from a period where the majority of music is remembered in a positive, nostalgic light. Even artists which may once have been viewed in a less credible light - perhaps as one would view as a 'sell out' pop band, are now gaining integrity through respectable sonic referencing. It feels like emulating period/genre tropes and production aesthetics inspired by music from this era gains instant respect - even a track such as Pharell's Blurred Lines, with it's controversial subject matter and Motown inspired beat earned a hugely popular radio spot.

This trend is one that I've found really interesting, and has inspired me to research further into, co-inciding well with my appointed coursework task of analysing 10 bibliographic sources. I've taken this opportunity to dig deeper, exploring this observation from a psychological, social and economical stance - ultimately concluding the idea of 'nostalgia' as the driving force behind the instant esteem of these records.

Locating sources for this task proved to be a bit of a challenge at first. Through trial and error of different keywords combinations using services such as Google Scholar and Athens, I was still not finding many texts which confronted the trend of older influences in the charts. At this point I decided to narrow my search down to the subject of nostalgia in music, which brought me to more texts, which addressed this idea from several stances at different levels of context and professionalism.

Bibliography

Trainor M. (2013) All About That Bass [CD]. Epic Records.

Williams P. (2014) IHappy [CD]. Back Lot Music Records/i Am Other Records/Capitol Records.

Mars B. (2014) Treasure [CD]. Atlantic Records.

Ronson M., Mars B. (2014) Uptown Funk [CD]. RCA Records.

Thicke R., Harris C. J., Williams P., Gaye M.,  (2013) Blurred Lines [CD]. Star Trak Records/Interscope Records.

The Potential of Social Media as a Freelance Musician.

The Potential of Social Media as a Freelance Musician.

Over the 10 years I have been learning to play the bass guitar, I have frequently used YouTube as a valuable educational resource. Where I began to develop as a freelance musician, I begun to see YouTube as a promotional resource and closely monitored the activities of other musicians who have achieved a successful reach through YouTube. Two examples are Miki Santamaria and Davie504. As their following grew, they both developed enormous influence in bass guitarist communities which is doubtlessly beneficial towards their reputation and integrity.

Since November 2014 I've been uploading YouTube videos of myself performing 'covers' and original tracks on the bass guitar. Around the same time I also organised a photo shoot and designed a logo in an effort to label myself as a kind of brand that helps me appeal as a 'product', which other artists and musical directors would want to work with. I'd seen a lot of musician job applications online which required footage of the applicant playing. By making these videos, I am able to show my appearance, ability and standard across a variety of genres. In addition, I also put together a portfolio showreel of videos uploaded by myself and other people in different environments and contexts, showing my versatility as a musician.

I aim to continue making videos where I have time, maintaining my quality improvement ethic. While my view count is not huge, I still find YouTube a valuable tool that crosses the the border between hobby and promotional device.

Bibliography

Santamaria, M. (2015) Miki Santamaria Bass Guitarist [Online] Available at: http://www.mikisantamaria.com/ [Accessed on 25/11/2015]

Davie 504 (2015) Davie504 Facebook Page [Online] Available at: https://www.facebook.com/Davie504/ [Accessed on 25/11/2015]

My Links:
Facebook www.facebook.com/c.parkerbass
YouTube https://www.youtube.com/channel/UCPd3KlyW2mYzjgj6eloBWnA
Instagram https://www.instagram.com/cparkerpark/
Twitter https://twitter.com/Cparkerpark

Designing an Effective Musician Portfolio

Designing an Effective Musician Portfolio

Back in February 2014 I made a portfolio of my bass playing credentials to share on my social media platforms as a promotional tool for anyone who looks through my Facebook, Twitter or Instagram pages. I also considered it important to have a portfolio ready in case any potential employer wants to see it, perhaps in a time sensitive case. A colleague recently got in touch with me about the manager of a function orchestral group he is in touch with, and asked me to send over a portfolio in the coming days. I decided this point is a good opportunity to update my portfolio.

Below is my original portfolio (Feb 2014)...

... and here is my updated portfolio (Nov 2015).

I imagine Musical Directors may look through a lot of potential application portfolios in a day, and I felt my previous portfolio to be too cluttered. I decided to simplify the information down into small chunks of text that describe myself and my credentials. I found it challenging locating relevant information on portfolio design in my context - I researched guides on musician portfolios, but found the information to be directed more towards those who are classically trained and attended music schools.

I found the greatest inspiration to be through other peoples portfolios, which is where I came across the QR code idea. I used an online service to create my QR code, which one can scan to take you to a showreel playlist of videos of my bass playing in different environments. I think this is a great idea, I imagine a person of interest would be more likely to view my work through this, as it is a little different from the norm. Most of my session bass work has been through word of mouth, but I believe it to be important to have an updated portfolio ready to send to persons of interest, as is commonplace in the industry.

The QR Code Link:

Chris Parker Bass Portfolio Showreel: https://www.youtube.com/watch?v=O5OMsnSfUUw&list=PL8joqBtMZjC6qHOwTOMO5FEHo6RxkgBvs

Update: Masters Study & Research Documentation

After completing a BSc Degree in Music Technology, I have begun to further my studies - undertaking a MSc Masters Degree in Audio Engineering at The University of Hertfordshire, which I believe will equip me with the knowledge, facilities and lecturer experience I need to mature to the next stage both professionally and personally as an individual in the Music Technology field.

I will add to this blog my personal research, thoughts, ideas & activities which will ultimately allow me to look back upon as a timeline of my development and thought processes.

The main focus of this blog in particular will address my main activities, which include: 

- My employment as Audio/Visual Technician at venue - The Forum Hertfordshire
- Music Production with an emphasis on 'vintage' emulation 
- Live performance as a freelance bass guitarist

I intend to link my assignment focuses over the year around this topic, and will be thinking of future career applications of my studies.

My Very First Bass

My First Bass: A Story of Nostalgia, Newspapers and a Ploughmans Sandwich

So, here is a picture of 12 year old me taken shortly after I received my very first bass guitar and began learning to play. This guitar carries a lot of sentiment for me and I like to think all musicians have a certain kind of attachment to their first instrument. Unless they sold it, in which case they're not a bad person, but the word 'heartless' does spring to mind. I kept this red beauty through the years and she (it's always a she) still hangs unashamedly on the wall at my parents house today. The significance of this bass to me is that without it I wouldn't have joined my first band, studied music at GCSE, then A Level, then degree level and then ended up writing this blog which you wouldn't be reading right now, just imagine! So let's begin at the beginning, how did I acquire my first bass?

12 Years old and rockin' Dad's cycling glasses - Eat your heart out Bono!

It's 2005 and my best mate Dan and I share a newspaper delivery route in our small village in Bedfordshire - an English county known for little more than Luton Airport *shudder*. Dan had one of those sunburst Cruiser by Crafter Stratocaster electric guitars from an Argos catalogue (Rock and Roll!) and he could play Smells Like Teen Spirit as good as any 12 year old bedroom guitar hero. One evening delivering papers we began a deep discussion on what we were going to spend all that dolla on. We agreed there and then that I would buy a guitar and together we would live the dream and form a band. Future scenes from "Before They Were Stars" flashed through my mind, and me being the little hipster git I was decided that I would be 'different' and get a bass guitar. I would play the 4 string electric bass. I spent that night being a Wikipedia warrior, reading up on just what the hell a bass was and how it worked and who played it (Spoiler alert - Flea. Flea everywhere.).

And so I spent the next 10 weeks saving up £5 a week to afford the cheapest, newest bass I could find on eBay, which happened to be from a company called Lindo Guitars. It was love at first pluck - I was hooked from what I believe was a mixture of natural love for the instrument, and having spent so much time and work to afford it that there was no way I was going to pack it up and give in. As I recall, the first song I learnt on this puppy was The Trooper by Iron Maiden, followed shortly by Whistle For The Choir by The Fratellis. Juxtaposition O'clock right? A quick google job shows that Lindo are still producing budget guitars. Shouts out to Lindo guitars! (www.lindoguitars.com). 

Simply red.

I must've had this as my bass of choice until I was 14, when a guy in my music class sold me a Warwick Corvette knock-off called the Warrior II by Tanglewood. I excitedly told my guitarist friend I was getting a corvette, to which he replied "Why, has the MOT failed?".

Laughs all round.

At this time I was stoked to be getting a hot new piece of bass, but the thing is - when I got my hands on it, the same connection just wasn't there. I think a large part of it is down to the fact that I bought it second hand; or maybe I expected too much from an instrument called "The Warrior". It had some downsides that I tried to fix up with a power drill and a lot of duct tape, but that's a story for another day.

While I'm visiting my parents I decide to have a play with ol' Lindo. I'm sure my current 'axe' won't mind if I have a quick fiddle (NB: I've always hated the word 'axe' to mean guitar, but by this point my mental thesaurus is running dry). I take the bass off the wall and the first thing I notice is that it has a fairly grotty set of strings on, undoubtedly from the sweaty pubescent hands of my former self during my brief stint in alternative rock band "Parad0x". I'm pretty sure our last performance was the school talent show, where our guitarist declared to the crowd that "we're not playing until everyone has their hands in the air". I'm smiling as I remember someone replying by throwing a sandwich at him. We still carried on. Not even a ploughmans can stop that Rock and Roll. Much to my delight, I recently dug up a few pictures from when I used to jam with the guy below around the same time, and who I'm actually still in a band with! (Shameless plug time - www.facebook.com/blisseyesband).

Ladiieeesss....

String gunk aside, the bass plays in solid condition and has a mellow, transient timbre like an upright. These days I usually change strings a few times a year to keep my slap sound phresh, though I am aware some players (in the past and present) swear by never replacing, claiming this keeps 'The Funk' in. I like to change when I see an ecosystem developing, but hey - if it's good enough for James Jamerson then it's good enough for me! Sadly the bass handles like a shopping trolley, the gap from the strings to the frets is so big I reckon I could use it as a bow.

In an interview regarding For Emma; Forever Ago, Bon Iver says that you never truly get over your first love, so here's to you unnamed Lindo bass, and to you Dan (though I don't love you, sorry man).


Cheers!