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Hi Gary I have a question for you about amplification:
I'd like to know what you like to hear on stage that enables you to play using full dynamics and always sounding rich and never strident? What kind of monitor set up do you use?(where do you like them placed?) What do you ask to hear in the monitors (how much of yourself back at you as opposed to the other instruments?) Do you prefer one mic over others for live use? I remember you saying that whatever they put on there is generally ok but is there one that just sounds better?

Here's an idea for the Altered Scale, similar to the 6 note concept from previous lessons.
-Tyler

I'm telling ostinatos are the ((*&. they are changing my whole outlook on playing vibes. NOT that I'm going to play ostinatos. but they are changing how I'm hearing lines against lines, They're magical. I have to finish a solo I'm transcribing now. After that I think I want to try a Gyil transcription. Or at least pieces of it.

I feel like I'm becoming free from doing the little I'm doing with ostinatos. I want to do more!

Chord Tone Solo

I was trying a mountable overhead camera. On my head. Maybe too jittery. I should mount it back on the ceiling.

Hi!

I thought it was time to record a final version of our TOTMs.
So I just pressed record on my Zoom today and this is what I came up with...
I hope some more of you guys will post your final versions too! It's always fun and inspiring to hear a bunch of diffrent version.

/Magnus

An idea for lines in the Dorian mode. Maybe useful?

Just playing around with all this. I still want to transcribe a Gyil solo.

This is a little difficult for me.

I know this was posted on the Virtual Vibraphone Day of Percussion, but I thought it might not have been available to all Vibeworkshoppers. I wanted to demonstrate playing "Scrapple" solo, comping the melody and playing a solo, concentrating on clear melodic lines and consistent time; a tremendous challenge to all who attempt solo vibraphone playing, especially playing a bebop tune and making it swing.