Weave (兼子拓真×二家本亮介 Bass Duet Cover by Luffy Zhou)

I dedicate this piece to the lonely summer of 2024.

No performances, no rehearsals, no work, and not many friends—love still seems so far out of reach. But I’m incredibly grateful to have music and everything I have at this moment! There’s so much I want to learn, practice, listen to, and do. Since I have the time, I’ll keep working hard and practicing, reflecting, and gaining insights along the way!

The original piece was published by Takuma Kaneko and Ryosuke Nijimoto in the August 2023 issue of Japan’s Bass Magazine. I was deeply moved when I first saw a video of it online, and I knew I had to learn it if I ever got the chance!

In early June of this year, I finally managed to get that issue via overseas purchase, and that’s when I officially started learning the piece. It includes some new techniques I had never practiced before, and the tempo of 144 BPM really pushed my physical limits. Slowly but steadily, I practiced it step by step, and before I knew it, summer had quietly come to an end. I finally finished learning the piece before heading back to my home country!

This piece was very challenging for me. Don’t just focus on the solo part—the Riff rhythm is incredibly stimulating and difficult. I learned a lot from it!

Even after recording each bass part more than 600 times, it’s still far from perfect, so I’ll keep pushing forward! Fighting!!!

In the video, the left side features Ryosuke Nijimoto’s part, and the right side is Takuma Kaneko’s. I adjusted the panning slightly to the left and right to correspond to each part (just a little—I don’t like sound effects that are too widely separated). Since I only have one bass guitar, I used the Darkglass B3K to add a bit of overdrive to Kaneko’s part to distinguish the tones.

For this recording, I didn’t use DSP. Instead, I used several analog pedals into the audio interface: Origin Effects Cali76 Bass Compressor, Darkglass B3K (for Kaneko’s part), and Jad Freer Audio Capo DI. The bass was set to passive mode (I never use active mode at home because my place has strong electromagnetic interference, and the active mode picks up all sorts of noise like a radio).

谨以此曲献给这个孤独的2024年夏天。
没有演出、没有排练、没有工作也没有什么朋友，爱情依然是那么遥不可及。但是无比感恩我有音乐和此时此刻所拥有的一切！我有无数想学、想练、想听、想做的，既然有时间那就继续沉淀努力练习，也在学习和练习中不断反思和领悟！

原曲是兼子拓真×二家本亮介发表在日本的Bass Magazine 2023年8月号中的曲子，我之前在网上看到视频时非常震撼，就想着有机会一定要练下来！
今年6月初的时候终于海淘到了那期杂志就正式开始学习，当中有一些我从来没有练习过的新技巧，144的速度也是在挑战我的生理极限，一点一点，一步一步慢慢练，不知不觉夏天悄无声息地结束了，在回国前终于练完啦！
对我而言是一首非常具有挑战性的曲子，大家不要只关注Solo部分，其实其Riff节奏非常刺激和难，学到了很多很多！
在开始录音后即使每个贝斯部分都录了600多遍但还远远不算完美，继续加油哇！Fighting！！！

我视频左边部分是二家本亮介的，右边则是兼子拓真的，声像也对应地往左右两边调整了一下（只调了一点点，我不太喜欢左右分得特别开的音效），
然后因为我手上只有一把琴，为了把音色稍微区分开来所以兼子的部分我用Darkglass B3K稍微加了一点Overdrive。
这次录音没有用DSP而是久违地使用了几块Analog单块进声卡，分别是Origin effects Cali76 Bass Compressor – Darkglass B3K（兼子部分） – Jad freer audio Capo DI，
琴用的被动模式（其实我在家就从来没有用过主动模式，因为我住的地方有强烈的电磁干扰，主动模式会像收音机一样收到各种杂音.)

#Weave #兼子拓真二家本亮介 #Bass #Duet #Cover #Luffy #Zhou

Originally posted by UCOeG7EdiIwT6trHl6DyoISg at https://www.youtube.com/watch?v=MX5AtcgoOKU