Making my fortune in music........

[Gill Smith]

selling reverb to Nashville

why don't they use it?

so many recordings sound like they've been done in a broom cupboard

--
http://www.gillsmith999.plus.com/

[Lyle Lofgren]

Post by Gill Smith
selling reverb to Nashville
why don't they use it?
so many recordings sound like they've been done in a broom cupboard
--http://www.gillsmith999.plus.com/

Actually, you'll get better sound if you record in the bathroom -- a
normal-sized one provides just the right amount of reverb, and without
special equipment. It'll also discourage you from using a bass, the
absence of which always improves the sound of a traditional string
band.

Don't try it with one of those portable toilets they have at
festivals, though. The sign inside may say "capacity, 160 persons,"
but we tried it once and couldn't even fit our string band (without
bass) inside one.

Lyle

[Tud Jones]

Post by Lyle Lofgren

Post by Gill Smith
selling reverb to Nashville
why don't they use it?
so many recordings sound like they've been done in a broom cupboard
--http://www.gillsmith999.plus.com/

Actually, you'll get better sound if you record in the bathroom -- a
normal-sized one provides just the right amount of reverb, and without
special equipment. It'll also discourage you from using a bass, the
absence of which always improves the sound of a traditional string
band.
Don't try it with one of those portable toilets they have at
festivals, though. The sign inside may say "capacity, 160 persons,"
but we tried it once and couldn't even fit our string band (without
bass) inside one.
Lyle

Now a bowed bass or cello sounds mighty fine with an old time country
outfit........

[Lyle Lofgren]

Post by Tud Jones

Post by Lyle Lofgren

Post by Gill Smith
selling reverb to Nashville
why don't they use it?
so many recordings sound like they've been done in a broom cupboard
--http://www.gillsmith999.plus.com/

Actually, you'll get better sound if you record in the bathroom -- a
normal-sized one provides just the right amount of reverb, and without
special equipment. It'll also discourage you from using a bass, the
absence of which always improves the sound of a traditional string
band.
Don't try it with one of those portable toilets they have at
festivals, though. The sign inside may say "capacity, 160 persons,"
but we tried it once and couldn't even fit our string band (without
bass) inside one.
Lyle

Now a bowed bass or cello sounds mighty fine with an old time country
outfit........

I find the bowed ones definitely more interesting than when they're
thumped.

Lyle

[Lyle Lofgren]

Post by Lyle Lofgren

Post by Tud Jones

Post by Lyle Lofgren

Post by Gill Smith
selling reverb to Nashville
why don't they use it?
so many recordings sound like they've been done in a broom cupboard
--http://www.gillsmith999.plus.com/

Actually, you'll get better sound if you record in the bathroom -- a
normal-sized one provides just the right amount of reverb, and without
special equipment. It'll also discourage you from using a bass, the
absence of which always improves the sound of a traditional string
band.
Don't try it with one of those portable toilets they have at
festivals, though. The sign inside may say "capacity, 160 persons,"
but we tried it once and couldn't even fit our string band (without
bass) inside one.
Lyle

Now a bowed bass or cello sounds mighty fine with an old time country
outfit........

I find the bowed ones definitely more interesting than when they're
thumped.
Lyle

I'm guilty of overstating the case against a thumped bass -- it's
particularly useful for a band playing for a dance, because, when well
played, it produces an audible rhythm that's rock solid. I just don't
believe that a bass is mandatory for a band, and in many cases, it can
limit the exploration of rhythmic possibilities (also sometimes known
as getting way off time).

Lyle

[FeralReason]

Post by Lyle Lofgren

Post by Lyle Lofgren

Post by Tud Jones

Post by Lyle Lofgren

Post by Gill Smith
selling reverb to Nashville
why don't they use it?
so many recordings sound like they've been done in a broom cupboard
--http://www.gillsmith999.plus.com/

Actually, you'll get better sound if you record in the bathroom -- a
normal-sized one provides just the right amount of reverb, and without
special equipment. It'll also discourage you from using a bass, the
absence of which always improves the sound of a traditional string
band.
Don't try it with one of those portable toilets they have at
festivals, though. The sign inside may say "capacity, 160 persons,"
but we tried it once and couldn't even fit our string band (without
bass) inside one.
Lyle

Now a bowed bass or cello sounds mighty fine with an old time country
outfit........

I find the bowed ones definitely more interesting than when they're
thumped.
Lyle

I'm guilty of overstating the case against a thumped bass -- it's
particularly useful for a band playing for a dance, because, when well
played, it produces an audible rhythm that's rock solid. I just don't
believe that a bass is mandatory for a band, and in many cases, it can
limit the exploration of rhythmic possibilities (also sometimes known
as getting way off time).
Lyle- Hide quoted text -
- Show quoted text -

I love to play with a bass under any circumstances. It gives the
guitarist more flexibility. Otherwise he/she has this pressing
responsibility for both rhythm and bass all the time. Challenging to
do nice long breaks under those circumstances. Impossible at a dance.

[Tud Jones]

Post by FeralReason

Post by Lyle Lofgren

Post by Lyle Lofgren

Post by Tud Jones

Post by Lyle Lofgren

Post by Gill Smith
selling reverb to Nashville
why don't they use it?
so many recordings sound like they've been done in a broom cupboard
--http://www.gillsmith999.plus.com/

Actually, you'll get better sound if you record in the bathroom -- a
normal-sized one provides just the right amount of reverb, and without
special equipment. It'll also discourage you from using a bass, the
absence of which always improves the sound of a traditional string
band.
Don't try it with one of those portable toilets they have at
festivals, though. The sign inside may say "capacity, 160 persons,"
but we tried it once and couldn't even fit our string band (without
bass) inside one.
Lyle

Now a bowed bass or cello sounds mighty fine with an old time country
outfit........

I find the bowed ones definitely more interesting than when they're
thumped.
Lyle

I'm guilty of overstating the case against a thumped bass -- it's
particularly useful for a band playing for a dance, because, when well
played, it produces an audible rhythm that's rock solid. I just don't
believe that a bass is mandatory for a band, and in many cases, it can
limit the exploration of rhythmic possibilities (also sometimes known
as getting way off time).
Lyle- Hide quoted text -
- Show quoted text -

I love to play with a bass under any circumstances. It gives the
guitarist more flexibility. Otherwise he/she has this pressing
responsibility for both rhythm and bass all the time. Challenging to
do nice long breaks under those circumstances. Impossible at a dance.

Just listening to some old 78s this morning. One of which, by the
Dixie Ramblers, has some great thumping bass on Franklin County Blues
and Ridin In an Old Model T. Great stuff!

[tonythomas]

As someone who played old time music in the 1960s and early 1970s and
then got out of it until around 1998-99 other thang oing to the odd
NLCR concert, one of the changes in the music is the sudden appearance
of all of these basses that did not seem to be part of old time bands
in the 1960s and early 1970s and did not seem to be very present in
the old time bands I had heard of from the 1920s, although they did
begin to seep in as Country music took form int he more singing
oriented Opry or Hay Ride type bands in the 1930s.

Especially as someone who was chiefly a guitarist---I still have to
struggle to listen to the banjo instead of the guitar when I hear any
band--fitting in what to do with a bass was something I had to figure
out and am not clear I have figured out for old time music, although,
of course, the bit of Bluegrass I have played then and now includes
basses and benefits from playing with a bass. What I was used to
doing on guitar in an old time band seemed to conflict with what bass
players I ended up playing with were doing, This seemed to be made
worse by the fact that it seemed that these bass players had no
knowledge of any of the classic old time bands.

Frankly, I attributed this to the presence of people who had played in
rock bands before going OTM using this set up.

Now, I see it as a reflection of the best thing that has happened to
OTM since I came back to it, the importance to the scene of bands
seeing themselves and being players for dance music where dancers need
the bass support. I also realize that what stood in the way of the
bass was the size and difficulty of transporting a bass back when few
persons had automobiles, not that getting a bass anywhere with a car,
especially if you go back and think of what a 1920s car, especially
the kind owned by OTM pioneers, is easy.

I do believe that in the tradition, bowed basses were much more
prominent. Also cellos which you see more than basses if you go
through collections of pictures of old time bands like the one on
David Lynch's web site.

Old timers black and white used to talk about how good the bowed bass
and cello players were. I know that was hard to pick up on the old
recording equipment, indeed even thumped bass was hard to pick up. I
have come to enjoy the East Texas Serenaders, but I wonder if anyone
can point to available recordings of Southeastern struing bands of the
1920s and early 1930s where you can hear bowed bass or cello.

Tony

[Lyle Lofgren]

Post by tonythomas
As someone who played old time music in the 1960s and early 1970s and
then got out of it until around 1998-99 other thang oing to the odd
NLCR concert, one of the changes in the music is the sudden appearance
of all of these basses that did not seem to be part of old time bands
in the 1960s and early 1970s and did not seem to be very present in
the old time bands I had heard of from the 1920s, although they did
begin to seep in as Country music took form int he more singing
oriented Opry or Hay Ride type bands in the 1930s.
Especially as someone who was chiefly a guitarist---I still have to
struggle to listen to the banjo instead of the guitar when I hear any
band--fitting in what to do with a bass was something I had to figure
out and am not clear I have figured out for old time music, although,
of course, the bit of Bluegrass I have played then and now includes
basses and benefits from playing with a bass.  What I was used to
doing on guitar in an old time band seemed to conflict with what bass
players I ended up playing with were doing,  This seemed to be made
worse by the fact that it seemed that these bass players had no
knowledge of any of the classic old time bands.
Frankly, I attributed this to the presence of people who had played in
rock bands before going OTM using this set up.
Now, I see it as a reflection of the best thing that has happened to
OTM since I came back to it, the importance to the scene of bands
seeing themselves and being players for dance music where dancers need
the bass support.  I also realize that what stood in the way of the
bass was the size and difficulty of transporting a bass back when few
persons had automobiles, not that getting a bass anywhere with a car,
especially if you go back and think of what a 1920s car, especially
the kind owned by OTM pioneers, is easy.
I do believe that in the tradition, bowed basses were much more
prominent.  Also cellos which you see more than basses if you go
through collections of pictures of old time bands like the one on
David Lynch's web site.
Old timers black and white used to talk about how good the bowed bass
and cello players were.  I know that was hard to pick up on the old
recording equipment, indeed even thumped bass was hard to pick up.   I
have come to enjoy the East Texas Serenaders, but I wonder if anyone
can point to available recordings of Southeastern struing bands of the
1920s and early 1930s where you can hear bowed bass or cello.
Tony

If I remember correctly, the Weems String Band used a cello. I
remember some other band photographs with a cello, but I don't
remember who they were. A mind is a terrible thing to lose, as Dan
Quayle said.

Lyle

Lyle

[David Sanderson]

Post by Lyle Lofgren

Post by tonythomas
I do believe that in the tradition, bowed basses were much more
prominent. Also cellos which you see more than basses if you go
through collections of pictures of old time bands like the one on
David Lynch's web site.
Old timers black and white used to talk about how good the bowed bass
and cello players were. I know that was hard to pick up on the old
recording equipment, indeed even thumped bass was hard to pick up. I
have come to enjoy the East Texas Serenaders, but I wonder if anyone
can point to available recordings of Southeastern struing bands of the
1920s and early 1930s where you can hear bowed bass or cello.
Tony

If I remember correctly, the Weems String Band used a cello. I
remember some other band photographs with a cello, but I don't
remember who they were. A mind is a terrible thing to lose, as Dan
Quayle said.
Lyle
Lyle

No plucked basses until about 1930. Furthermore, there were a lot of
pump organs around before pianos got cheap and common - you're talking
about a group sound that is much less percussive than what we're used
to. I'm not much of a fan of plucked bass for a string band, impedes
the rhythmic and melodic flow. With a guitar you can play runs and
notes that support the melody and fit with the overall tonality of the
group; not so with a plucked bass.

[Peter Feldmann]

Post by tonythomas
As someone who played old time music in the 1960s and early 1970s and
then got out of it until around 1998-99 other thang oing to the odd
NLCR concert, one of the changes in the music is the sudden appearance
of all of these basses that did not seem to be part of old time bands
in the 1960s and early 1970s and did not seem to be very present in
the old time bands I had heard of from the 1920s, although they did
begin to seep in as Country music took form int he more singing
oriented Opry or Hay Ride type bands in the 1930s.

Exactly my experience, Tony. String basses in OT bands still sound
strange to me.

As far as playing for dances goes, sure, a bass helps set the time. But
I have heard the story so often about a fiddle being the ONLY instrument
in early dance situations. And Mance Lipscomb, when he stayed with me,
would so often recollect how he played for dances -- often all night
long. It was his thumb on the bass strings that set and kept the time,
and man was that solid!

-Peter

[Gitfiddle Gregg]

Two other 1920s bands that had bowed bass/cello were Judge Sturdy's
Orchestra (Missouri, if I recall) and Taylor-Griggs Louisiana Melody
Makers. Seems like it was more common in the Old Southwest than
anywhere else. I definitely prefer the bowed sound.

Gregg

Post by tonythomas
As someone who played old time music in the 1960s and early 1970s and
then got out of it until around 1998-99 other thang oing to the odd
NLCR concert, one of the changes in the music is the sudden appearance
of all of these basses that did not seem to be part of old time bands
in the 1960s and early 1970s and did not seem to be very present in
the old time bands I had heard of from the 1920s, although they did
begin to seep in as Country music took form int he more singing
oriented Opry or Hay Ride type bands in the 1930s.

Exactly my experience, Tony.  String basses in OT bands still sound
strange to me.
As far as playing for dances goes, sure, a bass helps set the time.  But
I have heard the story so often about a fiddle being the ONLY instrument
in early dance situations.  And Mance Lipscomb, when he stayed with me,
would so often recollect how he played for dances -- often all night
long.  It was his thumb on the bass strings that set and kept the time,
and man was that solid!
-Peter
--
Peter Feldmann
BlueGrass West
PO Box 614
Los Olivos, CA 93441 USA
[phone] // 805 350 3918 (cell)www.BlueGrassWest.com

[Joel]

As far as playing for dances goes, sure, a bass helps set the time.  

Far better is the piano, which combines the firm foundation of the
bass with the chordal support of the guitar, all the while being fully
traditional!

Joel

[hank alrich]

Post by Peter Feldmann

Post by tonythomas
As someone who played old time music in the 1960s and early 1970s and
then got out of it until around 1998-99 other thang oing to the odd
NLCR concert, one of the changes in the music is the sudden appearance
of all of these basses that did not seem to be part of old time bands
in the 1960s and early 1970s and did not seem to be very present in
the old time bands I had heard of from the 1920s, although they did
begin to seep in as Country music took form int he more singing
oriented Opry or Hay Ride type bands in the 1930s.

Exactly my experience, Tony. String basses in OT bands still sound
strange to me.
As far as playing for dances goes, sure, a bass helps set the time. But
I have heard the story so often about a fiddle being the ONLY instrument
in early dance situations. And Mance Lipscomb, when he stayed with me,
would so often recollect how he played for dances -- often all night
long. It was his thumb on the bass strings that set and kept the time,
and man was that solid!
-Peter

Peter! Nice meeting you "here"! And yeah, Mance often spoke of playing
nearly straight through from dusk to daylight, and keeping people
dancing the whole time.

I figure once upon an older time people played what they had and
picking's might be slim one day and fatter the next. If a string bass
was to be had I can't imagine it being ignored, but it was never and
isn't now much fun to transport.

[Arkansan Raider]

Hiya', Hank!

Still czechin' out your new album--that's great stuff!

---Jeff

[FeralReason]

Post by hank alrich

Post by tonythomas
As someone who played old time music in the 1960s and early 1970s and
then got out of it until around 1998-99 other thang oing to the odd
NLCR concert, one of the changes in the music is the sudden appearance
of all of these basses that did not seem to be part of old time bands
in the 1960s and early 1970s and did not seem to be very present in
the old time bands I had heard of from the 1920s, although they did
begin to seep in as Country music took form int he more singing
oriented Opry or Hay Ride type bands in the 1930s.

Exactly my experience, Tony.  String basses in OT bands still sound
strange to me.
As far as playing for dances goes, sure, a bass helps set the time.  But
I have heard the story so often about a fiddle being the ONLY instrument
in early dance situations.  And Mance Lipscomb, when he stayed with me,
would so often recollect how he played for dances -- often all night
long.  It was his thumb on the bass strings that set and kept the time,
and man was that solid!
-Peter

Peter! Nice meeting you "here"! And yeah, Mance often spoke of playing
nearly straight through from dusk to daylight, and keeping people
dancing the whole time.
I figure once upon an older time people played what they had and
picking's might be slim one day and fatter the next. If a string bass
was to be had I can't imagine it being ignored, but it was never and
isn't now much fun to transport.
--
ha
shut up and play your guitarhttp://hankalrich.com/http://www.cdbaby.com/cd/hsadharma- Hide quoted text -
- Show quoted text -

I agree. If someone had it they probably played it. Given the
transport problem, I would guess you would tend to see a string bass
in action closer to ports -- east coast, west coast, gulf coast, major
rivers -- rather than somewhere accessable only by wagon. Getting from
place to place was a big deal. Although I'm no historian, the idea of
how instruments affected local music during pre-radio days fascinates
me. Dulcimers coming down from the Appalachians, the banjo in areas
where there were freed slaves. Besides differences in culture, slow
transportation which resulted in differences in instrumentation
probably had a lot to do with how local styles of Old Time music
developed.

[Joel]

Post by FeralReason
Given the
transport problem, I would guess you would tend to see a string bass
in action closer to ports -- east coast, west coast, gulf coast, major
rivers -- rather than somewhere accessable only by wagon. Getting from
place to place was a big deal. Although I'm no historian, the idea of
how instruments affected local music during pre-radio days fascinates
me. Dulcimers coming down from the Appalachians, the banjo in areas
where there were freed slaves. Besides differences in culture, slow
transportation which resulted in differences in instrumentation
probably had a lot to do with how local styles of Old Time music
developed.

You need to distinguish between time periods. "Pre-Radio days can mean
1900 - 1920, but it can also mean 1750 - 1850. There are recordings of
traditional music from the upland South with pianos playing in string
bands, and you don't get much harder to transport than the piano.
Consider the 1924 Gennett recordings of the Tweedie Brothers, The
Shelor Family, Heywood Blevins (Recorded by Peter Hoover; you could
hear the fifth string droning on his piano!), and Hobart Smith. Smith
and Blevins are not pre-radio, but they seem to be part of on-going
tradition. Moreover, I question the notion of "dulcimers coming down
from the Appalachians": 1) Coming down to where? 2) Is there any
reason to suppose that the dulcimer had its beginnings in Appalachia?
What about the question of their coming down TO Appalachia?

Joel

[FeralReason]

Post by Joel

Post by FeralReason
Given the
transport problem, I would guess you would tend to see a string bass
in action closer to ports -- east coast, west coast, gulf coast, major
rivers -- rather than somewhere accessable only by wagon. Getting from
place to place was a big deal. Although I'm no historian, the idea of
how instruments affected local music during pre-radio days fascinates
me. Dulcimers coming down from the Appalachians, the banjo in areas
where there were freed slaves. Besides differences in culture, slow
transportation which resulted in differences in instrumentation
probably had a lot to do with how local styles of Old Time music
developed.

You need to distinguish between time periods. "Pre-Radio days can mean
1900 - 1920, but it can also mean 1750 - 1850. There are recordings of
traditional music from the upland South with pianos playing in string
bands, and you don't get much harder to transport than the piano.
Consider the 1924 Gennett recordings of the Tweedie Brothers, The
Shelor Family, Heywood Blevins (Recorded by Peter Hoover; you could
hear the fifth string droning on his piano!), and Hobart Smith. Smith
and Blevins are not pre-radio, but they seem to be part of on-going
tradition. Moreover, I question the notion of "dulcimers coming down
from the Appalachians": 1) Coming down to where? 2) Is there any
reason to suppose that the dulcimer had its beginnings in Appalachia?
What about the question of their coming down TO Appalachia?
Joel

When I say "pre-radio" I mean everything before the 1922-1923 period
when radio became a mass broadcast medium in the US. The reason I
place importance on this period is that prior to this time there was
no way to reach such a large audience in so many geographical
locations at the same time. "Pre-radio", the propigation of musical
ideas had to move much more slowly. When radio emerged, musicians
suddenly got to hear local styles of music of which they had been
previously unaware. (Sorry if this seemed ambiguous.)

When radio emerged I suspect many folks begain hearing some of these
musicians for the first time. However, the musicians, such as the ones
you mention, were playing music and styles that had been percolating
for a long period of time before there was a mass broadcast medium.

On your Dulcimer point, I was referring to the "Appalachian" Dulcimer
(sometimes called the mountain dulcimer) rather than the hammered
dulcimer. Did not intend to be ambiguous. There are lots of ideas
about where this instrument originated (see a few on
http://www.bearmeadow.com/dulcimer-history/index.html.) Although I
play with an dulcimer historian who suspects they were originally
manufactured on board ships headed for America, I suspect we will
never find a dulcimer "genesis event". To disambiguate the word "down"
I was making the assumption that when leaving mountains, one generally
goes "down".

[Sean]

(snip interesting stuff)
To disambiguate the word "down" I was making the assumption that when leaving mountains, one generally
goes "down".

That's the kind of directionism that leads to bigotry and hatred.

[Lyle Lofgren]

Post by Sean

(snip interesting stuff)
To disambiguate the word "down" I was making the assumption that when leaving mountains, one generally
goes "down".

That's the kind of directionism that leads to bigotry and hatred.

Down With Directionism!

Lyle

[Sean]

Post by Lyle Lofgren

Post by Sean

(snip interesting stuff)
To disambiguate the word "down" I was making the assumption that when leaving mountains, one generally
goes "down".

That's the kind of directionism that leads to bigotry and hatred.

Down With Directionism!
Lyle

Yeah, I've heard it all before. "Some of my best friends are OVER THERE."

[FeralReason]

Post by Sean

Post by Lyle Lofgren

Post by Sean

(snip interesting stuff)
To disambiguate the word "down" I was making the assumption that when leaving mountains, one generally
goes "down".

That's the kind of directionism that leads to bigotry and hatred.

Down With Directionism!
Lyle

Yeah, I've heard it all before. "Some of my best friends are OVER THERE."

Hadn't realized profoundly negative implications of what I said....
makes me feel sort of down... and directionless...:-)

[Sean]

Post by FeralReason

Post by Sean

Post by Lyle Lofgren

Post by Sean

(snip interesting stuff)
To disambiguate the word "down" I was making the assumption that when leaving mountains, one generally
goes "down".

That's the kind of directionism that leads to bigotry and hatred.

Down With Directionism!
Lyle

Yeah, I've heard it all before. "Some of my best friends are OVER THERE."

Hadn't realized profoundly negative implications of what I said....
makes me feel sort of down... and directionless...:-)

That's right. And are you feeling left out?

[Arkansan Raider]

Post by FeralReason
I love to play with a bass under any circumstances. It gives the
guitarist more flexibility. Otherwise he/she has this pressing
responsibility for both rhythm and bass all the time. Challenging to
do nice long breaks under those circumstances. Impossible at a dance.

Well hey, you know, I'm a bass singer in an a cappella group, and I
cover the bass *and* the guitar part. Of course, we don't do dances
much, though I have been known to thump the bass a bit... <g>

---Jeff

[pandama]

Post by Lyle Lofgren

Post by Lyle Lofgren

Post by Tud Jones
Now a bowed bass or cello sounds mighty fine with an old time country
outfit........

I find the bowed ones definitely more interesting than when they're
thumped.
Lyle

I'm guilty of overstating the case against a thumped bass -- it's
particularly useful for a band playing for a dance, because, when well
played, it produces an audible rhythm that's rock solid. I just don't
believe that a bass is mandatory for a band, and in many cases, it can
limit the exploration of rhythmic possibilities (also sometimes known
as getting way off time).

I always like playing with a soprano - if she's got a nice face

[Billl Martin]

Post by Lyle Lofgren
I'm guilty of overstating the case against a thumped bass -- it's

particularly useful for a band playing for a dance, because, when well
played, it produces an audible rhythm that's rock solid. I just don't
believe that a bass is mandatory for a band, and in many cases, it can
limit the exploration of rhythmic possibilities (also sometimes known
as getting way off time).

If a fiddler can play the melody so the beat is unmistakeable, you can
square dance just fine to solo fiddle. Here in the 1980s we danced those
fast Irish polka squares with a caller who was also the band, just a
pennywhistle. Dancing of any kind needs a clear, unambiguous beat. That's
why I don't like calling dances with a band that doesn't dance. In Portland
we have the luxury of so many musicians who found out about old-time music
when they got interested in square dancing.

I play the cello in the Portland band Uncle Wiggily. (You guys might know
Dave Mount, on fiddle.) Without realizing it, at first, I patterned my style
after the East European folk stringbands like the Hungarian tanchaz or
whatever its called. It makes the band sound kind of like a big pump organ.
I'm not sure what its like to dance to, we don't have even home recordings.
To my ear the music sounds very rhythmic, but its not like Foghorn or the
Freighthoppers with the powerful steam locomotive sound. We get a good
reception at dances but I know at least one caller who prefers we switch to
plucked bass for dances.

Bill

[Lyle Lofgren]

Post by Lyle Lofgren

Post by Lyle Lofgren
I'm guilty of overstating the case against a thumped bass -- it's

particularly useful for a band playing for a dance, because, when well
played, it produces an audible rhythm that's rock solid. I just don't
believe that a bass is mandatory for a band, and in many cases, it can
limit the exploration of rhythmic possibilities (also sometimes known
as getting way off time).
If a fiddler can play the melody so the beat is unmistakeable, you can
square dance just fine to solo fiddle. Here in the 1980s we danced those
fast Irish polka squares with a caller who was also the band, just a
pennywhistle. Dancing of any kind needs a clear, unambiguous beat. That's
why I don't like calling dances with a band that doesn't dance. In Portland
we have the luxury of so many musicians who found out about old-time music
when they got interested in square dancing.
I play the cello in the Portland band Uncle Wiggily. (You guys might know
Dave Mount, on fiddle.) Without realizing it, at first, I patterned my style
after the East European folk stringbands like the Hungarian tanchaz or
whatever its called. It makes the band sound kind of like a big pump organ.
I'm not sure what its like to dance to, we don't have even home recordings.
To my ear the music sounds very rhythmic, but its not like Foghorn or the
Freighthoppers with the powerful steam locomotive sound. We get a good
reception at dances but I know at least one caller who prefers we switch to
plucked bass for dances.
Bill

Hi, Bill --

Good to hear from you again. I'm not a dancer, but the only time I
heard Uncle Wiggily (Berkeley OTMC, 2006), you guys sounded fine, and
I noticed that the dancers didn't have any problem keeping time. You
can be a locomotive without being plumb loco.

Lyle