Arrogant Keyboard

[Nico Sadiq]

Icant believe this has been sitting on the backlog for over a year. Asana is a productivity tool - keyboard shortcuts are the bread and butter of power users ie people who want to be productive. it makes no sense to have a board view with no keyboard shortcuts.

Bump. Switching to Asana from Trello & Jira is super painful because of under-supported Boards view. Need to be able to tag from the board view (as opposed to a task view), tag multiple tasks at once, change priority of multiple tasks at once, assign from task hover, navigate between tasks when in task view, etc.

As a cat-person, ZERO-G doesn't really mean to say his cat is arrogant. Such arrogance of his cat is kind of sign that his cat is familiar with and truts him and feel comfortable with him. He chooses the Lilac colour as the theme colour for arrogance. As ZERO-G puts it, the Lilac colour isn't so strong to be aggressive, it is soft but makes you feel it isn't able to be played with. Just like how he feels with his cat in their daily life.

It a good production for their sound on the album; nothing too clean of course but sharp when needed and lends a good energy to the malevolence on display here. I particularly like how the mix with the keyboards had been handled and when they echo the riff or briefly rise above it adds a little more contrast without turning into full on Limbonic Art or something (nothing wrong with that mind, in its place.) The best thing is though that it manages that neat balance between faintly echoing old nineties black metal like Gehenna and an absolutely relentless more updated attack.

Being old and creaky (I was a teenager during the NWOBHM) I have no time for people who ' excuse ' their love of metal by saying it's so cheesy, or so ironic. I've taken shit from mainstream types for the music I love for 35 years or so. Stand up and be proud of it with no concessions to what might be hip; the best music and the best fans in the world are within the metal family.

The Arrogant Sons of Bitches (commonly abbreviated as ASOB) was a 6-piece ska punk band from Long Island and Baldwin, New York. The band was known for its strong DIY punk roots, self-releasing two albums and two EPs. Their final album, Three Cheers For Disappointment, was released on Kill Normal Records.

Frontman Jeff Rosenstock went on to found Quote Unquote Records, a donation-based record label, as well as the band Bomb the Music Industry! Other members went on to join Jay Tea, Hello Nurse, Let Me Crazy, and The Rocky Sullivans.

In 1995, Joe Werfelman and Jeff Rosenstock started playing Green Day cover songs together. More members gradually joined their band, and in 1998 they recorded their first album, Released on Breaking the Law Records and titled Built to Fail.[1] Following Built to Fail, the band experienced some success and played with bands such as Edna's Goldfish, Catch 22, and The Toasters. In 2000 they released their second album, Pornocracy.

In 2004 the band completed recording most of the album Three Cheers For Disappointment. At this point the band was starting to break up, and Jeff started a new band, Bomb the Music Industry![2] The album was finally released in 2006, and the band broke up officially.

However, in 2007 ASOB announced a farewell show for their fans at The Knitting Factory. The show sold out in under seven hours, an unprecedented phenomenon for the show's venue. A second farewell show was played the following night at the Crazy Donkey in Farmingdale, New York.[3]

Five years later, the band reunited for a set of shows in New York. Jeff explained: "We like each other again, and thought it would be fun to play together again. This show is a one time thing. There are absolutely no plans to make another record, to go on a big tour anywhere or anything like that."[4][5]

Throughout their career, ASOB was praised for their high-energy live performances.[6] One reviewer described that "They're climbing on the ceiling, the keyboardist would be jumping up and down on the keyboard swinging from hanging speakers, and the bassist would stage dive in an empty spot... land straight on his face, and keep rocking out as he had the time of his life."[7]

As my name implies, I'm a bassist. On the forums that I regular, other bassists talk about how guitarists treat them like second class citizens. They say that bass is easier, complain about their volume, and gripe when low enders used pedals. It's a pretty common complaint that bassists seem to have that guitarists just don't value them, and someone in a band with one that does is the envy of most others.

Another common complaint is about keyboard players. Most bassists say they won't stand for a keyboard player "with their left hand too low." Apparently, is a capital crime for a keyboard player to "get in [their] way." The general idea, they say, is that too much going on within the frequencies that bass uses will muddy the sound.

So, one person was venting about their keyboard player. They said the guy wouldn't work with the rest of the band, couldn't play very well, and even had the gaul to as a group that had hired the band to re schedule an event, because he was going on a trip. But aside from all this, he complained that they guy was always in his register.

He said he'd expressed many times that he didn't want him to play those frequencies. Now, as a band member, this guy should have respected that the bassist didn't want him to play what he was. His refusal to consider what others wanted paints him as a jerk. But I began to wonder why no one ever wants to let the keys play "low."

But I also raised the query: why can't bassists let keyboard players play lower? Shouldn't we accommodate other members of the band? Shouldn't everyone be working together to make the best possible music? I was attacked by no fewer than three people. The same people who feel subjugated by the guitarists who won't tolerate certain behavior.

First of all, I have to admit I'm a member of that KB players' offenders union. I have had to work hard to get out of the low end, and still occasionally screw up and find myself stepping on my bass players' toes.

My jazz instructors and mentors unanimously tell me that stepping on the bass player's register is the first telling sign of an amateur. It's not tolerated or taken well, and some bass players are more rude about bringing the matter to everyone's attention than others. I'm told some of this is rooted in the days before electric bass and amplification - if the pianist stepped on the upright's register, the bass player couldn't fight back. Typically, pianists get used to covering bottom end from playing solo (or playing with bad/timid bass players) and build bad habits that need to be unlearned. It taken me a while (and some real shedding) to build LH voicings and voice leading, and I'm still a work in progress.

Of course some of it depends on genre too. Some songs have synth bass as a staple, and a cranking Minimoog simply sounds better than bass guitar on for instance, some of MJ's "Thriller" tunes. But I'm thinking that's the exception more than the rule for what I encounter. But now I'm just rambling.

So IMHO, bass players are right to ask KB guys to get out of their register, as typically it will muddy up the sound and preclude the good bass player from "singing" something interesting. I also think it's unwise to lump all bass players under one banner, just as it's unfair to lump all KB players together. Some bass players are nicer about pointing out 'overlap' than others - just b/c their cooler cats in general. Just as some KB players will respond to this request well, and others will ignore it like a$$holes.

I think in most band situations, everyone is there to enjoy themselves. If the key player likes to dip low, there should be an agreed upon time or song to allow this. Just because the bassist is there doesn't mean they keys should be forbidden from playing bass notes.

When he is not there, and bass is needed, I use my upper keyboard and do bass (and I have a large number of purchased samples of different basses). When he is there - I do my keys thing up higher. Don't mind it a bit - its easier to either be comping chords or using some Hammond or orchestral (and occasionally a bit of a strong lead sound just to keep the guitarist from thinking no one else can do that thing too).

We also have a primary keyboardist, which leaves me with a lot of freedom to add little bits of interest. I have enough chance to do solo keys - when I'm with a group - share the work, share the enjoyment, and help make it all fit together better.

Keyboard players should know how to play *with* the bass player. That doesn't mean not playing bass notes, it means not stepping on the bass player's part. There are a number of songs where I double the bass parts, often at the request of the bass player. There's something about the sound of bass and piano walking together that really does work, too. Also, there are parts where I know the bass player is going to ride up, and I'll pedal something below him if appropriate, or leave the bottom empty for variety in other cases.

But, IMHO, the bottom line is what the bass player wants. When I first start with a new bass player, I do my best work out where he wants me and where he doesn't, and I ask to make sure he doesn't feel I'm overdoing it.

I do the same kind of thing with the guitarist. Most guitarists I know tend to come in on the downbeat and at the beginning of measures or beats, so I often work parts that come in behind. Earlier in my life I had a hard time not stepping on guitar parts, playing Rhodes and having learned voicings by transposing all those lovely guitar jazz chord voicings. Live and learn, eh? Hey, all those keys at the top of the keyboard ... they actually do have uses! I confess I still spend most of my time in the middle and lower registers, though.

I find it works better to ask someone to do something than to tell them not to do what they're doing. Rather than saying "don't step on my xxxx part", I try "could you try yyy there, so we dovetail better?" OK, once I'm tight with the players, I won't use kid gloves all the time. But practice and playing should be enjoyable, and it's a good idea to keep that in mind.

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