I had a rather fraught evening last night when I discovered that my lovingly-crafted website front page, with all it’s cunningly placed Bandcamp players, did not display properly on certain mobile devices. Now I am a bit of an Apple fan and thus only tested the page on my iPhone and iPad 2. I have no way of testing it on an Android phone or Opera etc, but seeing as though a huge proportion of us use various “iDevices” to browse the internet I thought this was issue enough to take immediate action.
Yes, I am a big geek and this post might not be of interest to many of you; but if like me you use Bandcamp as the major distributor for your music then this issue may well affect you too. The embeddable players are one of the best features offered by Bandcamp and one of the many reasons I chose to go down that route to distribute my music.
After a bit of digging around and a call for help to the lovely people of Twitter (@basdriver, @solobasssteve and @alunvaughan were all very helpful) I think I discovered the root of the problem. I was using the original Bandcamp embed code, which looks like this:
Now it looks to me like this contains a Flash player link, which iDevices do not support. Plenty of people have Flash-based websites which simply do not display on iPhones, iPads etc. That would drive me round the bend by the way…
The newer embed codes (and the default code when you click the “Share” button on Bandcamp these days) does not contain a Flash link. They look like this:
<iframe width=”400″ height=”100″ style=”position: relative; display: block; width: 400px; height: 100px;” src=”http://bandcamp.com/EmbeddedPlayer/v=2/album=2386594114/size=venti/bgcol=FFFFFF/linkcol=4a4a4a/” allowtransparency=”true” frameborder=”0″><a href=”http://music.simonlittlebass.com/album/the-knowledge-of-things-to-come”>The Knowledge of Things To Come by Simon Little</a></iframe>
So all you need to do is go through your site and replace any old embed codes with the new version. Simple as that really.
Also, in case you wanted to center the player on your page like I did, you’ll need to wrap the embed code with <p align=”center”>code</p>. In case you were wondering…
Sorry for the geekfest, but my previous post on Bandcamp image maps proved rather popular and if I can save you the hour or two of frantic Googling that I experienced last night, my job is done.
Good luck 😉
ps. If you haven’t heard my latest solo album The Knowledge of Things To Come (shame on you), then here is said Bandcamp player in all it’s glory (cunningly centered too by the way!). Feel free to embed it somewhere for your friends and help spread the word. You have instructions now so no excuses…
Yes indeed. It’s that time of the year again when I venture forth back into the studio to work on some new solo material for your collective listening pleasure. I’ve been tweeting about it over the last few days as work has begun here and I thought it might be a good idea to let you all know what’s happening with the new record.
During my time working on The Comedy of Errors at the National Theatre, I’ve grown rather fond of the acoustic bass guitar. I must admit I never thought this would happen as the instrument, by definition, is physically flawed. Such a small bodied bass instrument can never project like an upright bass, but it turns out that with the right preamp it can produce a fantastic and very individual sound. It took a long time to find the right bass but I eventually settled on a Breedlove acoustic from Guitar Guitar in Epsom.
I did a little test recording about a month ago which I posted to Soundcloud. The bass has a great gnarly sound and the preamp gives me quite a lot of control over how much of the fret noise I want. I want a lot… For those of you that haven’t heard it yet, here’s my demo track.
So. I wanted this album to be very different to the previous two. By deciding on recording an entirely acoustic album I have intentionally imposed a number of limitations on the way I usually work on the solo project. Most of the effects that characterize Mandala and The Knowledge of Things To Come simply do not work with the Breedlove. I’ve decided to mainly keep the sound of the bass relatively pure (well, it’ll be smothered in reverb and delays) and try to bring out some of the nuances and harmonics that you only get from an acoustic bass guitar. So the Pod X3 Pro will be having an easy time during the sessions. I have set up one patch will I will probably use for the entire album. It has a nice open reverb, some light chorus, delay and an octaver for when I fancy a bit of extra bottom. Gone are the distortions, pitch shifts and backwards delays. For now…
It’s also rather disconcerting going back to four strings after playing all my other solo material on the six. In many ways this is the greatest limitation on the process. A great deal of my solo/live-looping vocabulary is based on the extended range the six string offers. I am having the develop a new approach which relies less on the instrument and more on my own creativity. Which is a good thing.
None of this is to say that I won’t be making full use of the awesome talent-booster that is the Looperlative LP1. Most of the sound manipulation will come from the Looperlative this time rather than banks of guitar effects. Just a few days in and I’m finding out new things about the Breedlove all the time. For example; the best recorded sound comes from playing with a slightly sideways ‘double bass’ style right hand technique rather than proper bass fingerstyle.
This is turning into a bass geek-fest. I do apologize…
So anyway, the new record is going to sound very different to the previous two. I’ve also been listening to a lot of acoustic music of late for inspiration. Dutch cellist Ernst Reijseger has proved a big revelation over the last few weeks. Apart from Jonas Hellborg I can’t think of any particular bassist that has fully embraced the acoustic bass guitar, so I’ve been listening to a lot of other instruments with similar characteristics such as the lute, sarod and bass viol. Hopefully some of these influences will filter through into the music.
That’s it for now folks. Here I am typing away when I should be toiling over a hot laptop. I’ll keep tweeting progress reports as I go along. I’m using the tag #soloalbum3 for now. Turns out my intended album title does not work as a hash-tag as it has brackets in it. Bugger. Feel free to use the tag whenever you like and help spread the word.
Well it’s been a fortnight since I released my new solo album The Knowledge of Things To Come on Bandcamp and iTunes. So far I’ve had a very positive response from all concerned.
I had a lovely review from Oliver Arditi on the fantastic eBurban site. I was really pleased to get a review on eBurban as I really like that site and they have some great writers working for them. Oliver’s closing comments:
Little presents a series of atmospheres, a selection of airs for us to inhale. They do not take us to extreme places: there is a tang of melancholy, but there is also a sense of purposeful movement. The experience of listening is highly rewarding, for the continual sonic transformations, and the ongoing flow of ideas, as well as for the moods he creates. The Knowledge Of Things To Come is the work of a thoughtful and very creative musician, and one who shows signs of development and growth with every new release.
Oliver is such a great writer. He has previously done reviews for both Mandala and the Rejectamenta EP. In fact he is the only person to have reviewed all my solo releases. He has a brand new website so go check it out and subscribe to the feed.
I also had a little feature on the front page of the Warwick website. For those of you that don’t already know, I am a long-standing endorser for Warwick basses and amps. The whole of the record (and the previous albums) were recorded using my fantastic Warwick Thumb bass and they are a big part of my sound. I was really pleased to be featured on the site again and it’s great to have their support, especially for the solo projects.
One track from the album will be the featured free download of the day on the All About Jazz website on July 16th so keep your eyes peeled for that one. I won’t spoil the surprise and tell you which one.
I’ll keep you posted on any new reviews or features on the album as they come in. Probably via Twitter. I’ll assume that if you’re reading this we probably chat on twitter at some point!
Had a rather busy week last week as I scooted up and down the country with Clare Teal. We played Glastonbury last Saturday in the Bourbon Street tent. Didn’t get much chance to see any other acts (saw two songs from Rumer on the main stage; it was nearest) and only slightly wrecked my bass in the mud. Please remind me to take my electric bass next time I play Glastonbury; it really isn’t the place to be carting around antique instruments.
I went straight from there to play a show in Tychy (I’ve seen it spelt about a million ways) in Poland with Maggie Reilly. We had a lot of fun out there in the short period whilst we weren’t on planes and waiting in airports. For the first time since I’ve been playing with her, somebody in the audience filmed us playing a song that isn’t Moonlight Shadow. Here is a wobbly video of us playing To France. The sound is pretty nasty so don’t get over-excited!
I shall leave you for now. Don’t forget to grab a copy of the new album from the Music page via Bandcamp. It’s the only place where you can get the full hi-res audio. The iTunes versions will be all squashed down to fit in with all their other squashed down music. You know it makes sense… And don’t forget to spread the word of the solo bassist and his new album 😉
