I agree it does not sound like Zappa at all. I think what people are seeing is its integration of classical elements and overall the fact that this is music that transcends genres.

We did our best, of course this is not an ideal habitat for a recording!

Thanks so much for your words 🙏 Most of my sounds come from a Line6 HX FX, but the reverbs (unless weird) and drive come from other pedals. Yes my bass player is great too with sounds!

The recording may have been done through direct cables, and partly through microphones. The mix is too good for just mics. I played twice in a band in a church, and the sound was very messy because of the reverb of 2-3-4 seconds. It may depend on the acoustics of the church, the amount of public (dampening), the volume, and the kind of music. Classical often sounds good. But rhythm quickly gets messy. And on bass I had to play short notes, but it may depend on your gear and settings. I am glad, the mix is very good here.

@@fabioferrimusic Thanks for your response Fabio. Even though I live within a large city, the music store chains are outside of the city and not convenient for me to get there, so I don't get to try out FX boxes. I play bass/guitar/keys in that order of skill and create electronica/ambient as a hobby at home. So you see, I am torn between where to put my money in FX units. I have an inexpensive Boss Digitech in my closet and one good rack reverb and one rack multi fx. I want a good looper (Boss RC 505 mkII) and I want some various FX for guitar and some for keys but again without being able to test them out for my needs, and they are expensive, I am just stuck. I read below you tell someone your putting out some new music you'll post here? Am I correct?

@@anonibass Thank you for responding. Electric bass is my main instrument I suppose. I liked your playing and choices you make within such a style of music. Yes I understand such rooms. Acoustically they are a nightmare. And surprisingly the recording is not too bad.(I want to listen again in my EQ'd room) You say some lines are direct and you keep your playing simple as not to clutter what space you have. You were very clean and your image and range as noted, was wide considering the cab size I see in the chair. I would be afraid to go smaller then my rig, an SWR Workingman's 2x10 bass cab with a 1969 100w SUNN Sorado tube head. Looking forward to hearing more from what is posted now and what will come. Cheers Barry. OOPS - mistook anonibass comment for the band's bassist.

@@anonibass The recording was done by mixing a phone in front of the stage, a phone on stage (not in all tracks) and a zoom recorder far away. I find iphones pretty good. In particular, we didn't have any individual channel for the instruments. Of course this wasn't meant to be a 'proper' recording, I did my best. I think if we planned to record properly the result would have been way better. The church's natural reverb is fortunately not too overwhelming, that's why I love St Stephen's!

Thanks for your note, we'll be recording and releasing this stuff in the next few months so watch this space 🚗 🏜

I don't know, what this man is exactly doing right, but it is intriguing.. I have heard enough ‘experimental’ music, including Zappa ever since 1969, but this truly appeals to me. But why??.. I do like the Lydian scale (like in Indian raga’s), he seems to use a lot. It sounds more open and is more versatile during improvisations, while major and minor seem to be more limited to themselves. But there must be more.. Somehow he manages to maintain a human harmonic background, from where he goes in all directions of scales and chords. But the connection never gets lost. In other experimental music, I often wonder: Yeah fine, but is it supposed to mean anything? Not here.. I can keep feeling the harmonic sound, while all oddities drag me into so many adventurous directions, without loosing the feel for them. I never get lost. It’s like showing the many dimensions in life. I think, this composer is very talented. He must have listened well to a lot of good music in his life, combining elements of that very well. This is not just ‘experimental’.. The man simply has a very good taste, and really made an art of composing. Zappa? Yes, I do hear elements of that, but this is better. Zappa certainly brought a lot of original new idea’s, but somehow it often sounds like he got stuck a bit at creating real music of it. He was one of our idols in those days, but I always kept missing something. Perhaps you have to be American, to completely appreciate it. (except for ‘Hot Rats’. I know the ‘Willy the Pimp’ solo by heart.) The same for experimental Jazz. Perhaps I am too European, longing for good harmonics. But Fabio Ferri fills that gap for me here: experimental, but making sense in a human emotional way.. It does remind me a bit of Yessongs, or Jan Akkerman in the seventies, or King Krimson’s ‘The Lizard’, where the music tells an endless story..

​@@anonibass Thanks for your words, that really hit me! I'm definitely trying to cook something that is appealing in the modern times. I've released far more experimental music. This current project reflects the context of the place I live in and the people around me, and my band mates are a huge component of the sound! Your comment about continental Europe is spot on. Contemporary classical music and art galleries are a huge influence, alongside being immersed in the Bristol/UK music scene with a few other projects. I compose classically even tunes that are not classical at all. A shame you don't like Zappa that much, but I like you're fully honest about it and I see where you're coming from. I think I'm very different, but the label I was given by the media looked appealing enough to be taken 😅 It's very hard to navigate the industry in these days but I hope I might be able to deliver a show at your doorstep one day. This album I released a couple of years ago takes a lot from Russian classical music and art, but you might find it more experimental fabioferri.bandcamp.com/album/griboyedov-incident

@@fabioferrimusic After hearing your incredible “Griboyedov Incident" on Bandcamp, my Neanderdutchler words can only spoil things.. (Really very very nice people, these Dutch, but better be prepared for every stupidity, that ever arose from DNA..) Chapeau for the whole production!! We better create a National Chapeau-Day, where everyone can throw their Hat into the air, while listening to your Shostakovich! (Or any other..) Incredible sounds and high quality mix too.. And a very nice cover! I never buy music, but this one I did buy. (also a good excuse to borrow a few seconds of your time to read this.) It was surprisingly easy to pay and download instantly. (But cannot be done with the European IDEAL) The Stephen's performance already showed a great capability to pick up and use classical elements. And a lot reminded me of good old Italian traditions. And yes, 'to cook something that is appealing in the modern times' is the big challenge. The public wants it, the industry wants it, and the media want it. Classic is a goldmine, but can only give starting points or inspiration to create something completely new. You are obviously good at it, and also capable of attracting good musicians and others. It looks like a new scene, where the atmosphere is appealing to all participants. Such music probably comes from involvement and social cooperation. Let Bristol arise! :-) (Nobody in the world expects any artistic highlight from 'Bristol', so that's a good starting point for creating something new, your own way..) Stephen's is more 'appealing in a modern way' than Griboyedov, but Griboyedov may do very well on Dutch channels for contemporary classical music. (I've heard worse there :-) No, I won't suggest anything for composing, certainly not something like Funkakovich, Hiphopbaidulina, or other 'hopium', or what is popular at Jazz festivals these days.. (Composing is nobody's business, but your own.) but starting with- or adapting to what people recognise, or already know and like, could be a key that opens doors.. But don't trust me. I am that 'lazy customer', your forefathers may have warned you about. I am an improvising bass guitarist, playing along with all musical styles in the world for decades (on KZbin), always in search for 'the Groove' behind everything. (even in Classic). I do believe, the rhythmical nuances - also in the interpretation of musical lines - are underestimated in our world. More attention to that, may make music more appealing. At Jamsessions I am very precice with my timing on bass, synchronizing with everything that already sound good. And I noticed, this immediately attracts attention by the public ánd the players, being inspired by the resulting groove. You might consider, making more use of this.. I love what you do. I am sick of existing styles and don't even understand, why young people stick to that, or keep copying that, while so much news can be done. I try to do new things, every time I pick up the bass. But you are way ahead of me, producing all this. Wishing you a heaven full of new idea's. Your post for me was a long shot, but did hit the bull's eye.. 'The Master and Margarita' was often at my mothers table. Our house in the Netherlands was full of Icons, and Rachmaninov and Tchaikovsky was often played, as well as Russian folk and Ukrainian gypsy. The complete Russian library was there, in Dutch and Russian. My mother was a refuge from Charkov after the second world war, and married my Dutch father. Grandma also was there, having experienced the Russian Revolution at the age of 18. Stalin, the prosecutions, the hunger winters, the Second World war.. Centuries of Russian tragedy.. As a young boy in the free west, I tried to stay away a bit from all that. I regret that now, and I am glad you are picking up elements from that very rich culture. Zappa fans will execute me one day, of course.. :-) Zappa wás our hero in those days, including Beefheart, who was exceptionally new and creative. Hot Rats was superb. But Zappa just may not be the most ideal way to gain eternal peace in Nirvana or something.. But if the media connects you to him, who are you to say No?.. :-) But God is at my side at the moment: Playing Griboyedov, appreciating it more and more..

@@anonibass Thanks for your listen and purchase, for your words, for sharing so much about your life! I'm glad the album speaks to you and picks cultural elements of your childhood. Yes, the groove, that's spot on again! Definitely something I'm trying to do with this band. We just spent a weekend starting recording (rhythm section done). What the guys and my current guitar playing are bringing is definitely a higher focus on groove (if we compare to Griboyedov Incident), in particular a bridge between my previous world and modern dance music. This is something you hear a lot in the modern jazz productions, at least in the UK, in places like London, Glasgow and Bristol. Bristol might not say much outside the UK but it's renowned for its music scene. I recommend checking out bands such as Waldo's Gift, Snazzback, Ishmael Ensemble who are internationally recognised jazzish bands who follow this approach (the former with a big classical influence as well).

​@@fabioferrimusic About 'Groove'.. Thanks for answering! I bet, you have more to do than reading me.. But perhaps you find this interesting.. Groove is part of the mystical side of music. I found out during Jamsessions, bij choosing óne fellow musician, and play improvised bass lines with that, that exactly fitted his current style and mood. (It's all a matter of interpretation and timing of your own lines. Every milisecond counts) The result was surprising. Suddenly the public stopped talking, feeling there was something going in. And other musicians were inspired. As if suddenly 'room' was created. After a minute, I could pick- and adapt to another musician with some good rhythm, resulting in a slightly different bass style, because every musician has a bit of his own style. Even with the same person and the same song, it could be slightly different. But 'something' happens, I don't know what. If only twó musicians are exactly in the same flow, it brings unity and stability in the whole group. It just leads. I didn't have to do much. Just exactly the right thing on the right time.. It happened to me too.. Once I was practicing some bass line, I felt. Then an African came to me with a small Kalimba. He played so well to my groove, I was completely overwhelmed. Al of a sudden, I understood the depth of my own bass line, and knew it had to be done better. After two minutes I completely crashed, because I symply don't have that level. Or the bad sides of my life style limited me, or old frustrations about whatever. But it came from inside. Many sides of life are connected to rhythm, even organs or muscles. It raises many questions while playing, like: Why the hell am I doing what I am doing? When do I líke, what I am doing?!.. Groove is much more than just James Brown or Maceo Parker. It's in everything, and in many different ways. I found out too, by playing along with KZbin, with all styles in the world. I am just a simple home-bassist, but really try to produce good sounding bass lines to any music, merely meaning: get the feel, and find the right timing of each note. Later I found out, even the location and the public mattered. I started wondering, if every situation itself could have it's own specific rhythm or groove, and even tried to find and play that on djembé.. But anyway.. Really good grooves seem to have the power do drive away the idea of gathered individuals, and replace it with the feel of common life. Classic has a lot of good grooves, but it all depends on interpretation, and the way the lines are played. The violist Janine Jansen plays in wonderful grooves. I think, all top-musicians do. They can give lines meaning and intention by good timing. So how to add good groove elements to new music? Haha, as if I would know the answer. :-) I'd say to somebody: live healthy, find good musical company, have a good conscience, have discipline, and respect for life as you play... and go to Bristol. :-) (Not here!) Something may come up. I don't know, because there are so many ways. But you must be able to connect to the rhythm feel of someone else. What doesn't groove together in every moment, doesn't groove at all. (Sorry for my long post)

It may not be the work of the Devil himself, if other artists join in. And it is not always an unfortunate psychiatric handicap to aprove of a participating audience. I do agree, that the peace within a church can be fully secured by the military and barbwire. Anything to preserve the good atmosphere during music! But you can also try a poster, saying: 1. Sit down! 2. Shut up! 3. Applaude at apropriate times! 4. Face the consequences, if you don't! 5. Get permits for ecxeptions. The poster may be in red and black, and contain pictures of jails, the same devil, Israeli's in Gaza, whatever. It may work..

I think it's easier than you think. I filmed this one of the first days after I got the guitar. The markers on the side of the fretboard help ;)

Thanks for your comment! The action is already super low and the guitar feels very easy to play. Sustain is not great though. Would lowering the nut increase the sustain? Didn't know that. Anyway in a couple of weeks I'll have a fretless electric guitar, that'll be my main investment :)

​@@fabioferrimusic Oh god, what was I thinking! Of course lowering the height of the nut doesn't increase sustain. Excuse me, just fixed. The more space the strings have to vibrate, the louder they sound. Btw electric fretless is a good choice. Here are some fretless guitar players for you. I'm typing in "name - work", but you should check out all their songs. •Erkan Oğur - Mor Dağlar •Cenk Erdogan - Kara Gider •Buzz Gravelle - Proof of Existence •Giulio Gavardi - Nardis •Sinan Cem Eroglu - Ya Evde Yoksan •Gilad Weiss - Improvisations •İlter Kurcala - Heavy Metal Solo •Guthrie Govan - Vigier Fretless

If we put an octaver after that you might be right 😁

Thanks for your note. That was an experiment, I still mostly play with fretted guitars. Not sure if I understand correctly your remark about violins. There definitely are decent violin players around!

Better you not try English again

ENGRISH

Armchair critic. They think they know it all. What do you play, besides your ego.

Thanks! I didn't do the video, I'll ask Kev!

Filmora Adam, just the basic paid for version

@@winsek84 oo thanks friend!