Bilbo

[quote name='pfretrock' timestamp='1421435167' post='2661281'] Former Wichita resident Glen Campbell was the first guy in town to own a cell phone. [/quote] You're lyin', man.

[quote name='ras52' timestamp='1421745967' post='2664431'] Former members of Manfred Mann's Earth Band went on to join Man, Right Said Fred, the Mannic Street Preachers, Earth Wind & Fire and The Band. [/quote] That was bloody hard work!!

Not sure if this one has appeared already but it is not widely know that Brittany Spears is actually the secret lovechild of Bryan Ferry. When Miles Davis toured Europe in the 1960s, he had to change his name to 1.6093 Kilometres Davis. UK Prog Band IQ are all, ironically, quite thick. John and Robbie Coltrane are brothers. Art Pepper was allergic. Charlie Parker, known to Jazz fans by his nickname 'Bird', couldn't fly. Unlike R. Kelly who, I believe, could. Before starting iconic Jazz sextet, The Jazz Messangers, Art Blakey worked as a bus inspector for London Transport where he worked alongside soon to be Black Sabbath bassist Geezer Butler, then known by his real name Stan.

It's all about justifying the outlay, Mike. I love the idea of 'playing' with the kit but paying for is is a lot less attractive when I don't really do that much with it. I will stick with what I have for now and wait for a windfall!!!! Maybe when I sell the first million copies of Mr. P.C.!!

I just watched 4 videos claiming to explain the difference between a P bass and a Jazz. I hear the words and they make sense and then they play the basses and I am buggered if I can tell the difference definitively. A guy says 'this P has more puch' and then 'zzzzzzing' follwed by 'this Jazz has mroe bite' and then 'doink'. I just don't think any of it matters very much!

Krect.

Pat Metheny was a gear Nazi in his early years and would only play if he had his own kit. Many, many years later he agreed to sit in without it and sounded great. Stanley Clarke reports a similar experience. Personally, I think most of it is fruitless naval gazing. But I can't tell a Jazz from a Precision.

I play fretless exclusively and have done (mostly) since 1986. Jazz, Riock, Pop, Funk etc etc. It works as well as fretted in almost everything except slapping. I only have that one fretless bass and have not had a fretted for years now.

I watched a load of bass videos today where players were demoing brand name basses; Foderas, Alembics etc. What I noticed was that good players sounded great on them and crap players sounded crap.

I am racking my brains!! (it is at home and I am in work). SAMPLETANK!!! It just came to me!!

Bloody socialists. They get everywhere!!

[quote name='cheddatom' timestamp='1421336579' post='2660064'] You're correct that keeping it offline has kept it stable. Not just because of malicious software but also due to avoiding any updates or changes to your software I'm confused by your issue. Copying files from your internet PC to your music PC should work fine. You mention a "download manager" which isn't compatible with XP, but your XP machine isn't online so it doesn't need to download anything? I'm guessing you've downloaded a music program that you want to use on your music PC, but it won't run as it's not compatible with XP, is that right? [/quote] My 'problem' (a first world problem is ever I saw one!!) is that I have a load of downloaded samples that run on a specific platform (I can't even remember what it is called). The download manager is not to put the software platform onto my computer; that worked in the normal way. It is to [i]activate[/i] it. So, because I cannot activate it, I have hundreds of loops and samples that I can see but which I cannot use because they cannot be switched on. Regarding Howie's observations. I have no doubt you are right. What amuses me is that I have managed without the updates all this time which tells us the value of the 'update' culture. 'Gotta have the latest thing' = 'trash your computer'

I have a MESH PC that I bought in the early noughties - it has to be over 10 years old - and I run an old version of Sibelius (v.2 or something like that) and an old version of Cubase SX. I have NEVER linked that computer up to the internet and, get this, it is pretty much as stable toooday as it was when I bought it. I have no doubt that the fact that it has not been on-line os why it has remained stable (I have no real faith in security software and firewalls in terms of protecting your content from viruses and have not had any security software on my MESH for years and years without any problems). The problem is, it runs on Windows XP. I want to get into loops and samples but am finding that a lot of the stuff I can access I need to download to my internet computer, copy onto a flash drive and move across. The problem is that the process is now not working as often as it is. I recently got hold of Miroslav Philharmonik and it came with shedloads of free samples. Luckily I was able to get the MP working but the samples and loops would not work because the download manager for the samples and associated software was not compatible with Windows XP. I am torn because I cannot justify the expense of another computer (I really do not record anything that often and there is no professional driver here (unlike my need for WORD and ADOBE etc) but I do not want to hook the PC up to the net and destabilise it. Can I upgrade the OS on the PC without losing everything? It may not even have enough memory for all the modern bells and whistles. At the moment, I have a nice toy to play with and can write and record my little ditties without any real difficulties. Trouble is, if I do not do something, what I have is all that there will ever be. Part of my question is; can a 'music' computer be hooked up to the internet safely? My gut says no but there are so many downloadable software packages that I figure there must be some way of doing it. Any thoughts?

[quote name='Bottle' timestamp='1421324514' post='2659816'] Bilbo, have you checked out his earlier collaborative work with David Cronenberg [i]vis a vis[/i] eXistenZ etc? very haunting and atmospheric [/quote] No. WIll do Also, I forgot Schindler's List

Howard Shore's Lord Of The Rings soundtracks are one hell of an achievement. I am less enamoured of the Hobbit series but they have their moments. I also like Leonard Rosenman's soundtrack for Ralph Bakshi's 1978 version of LOTR Pat Metheny - A Map Of The World is beautifully paced Mike Oldfield - The Killing Fields. Strangely powerful Javier Navarrete - Pan's Labyrinth. Haunting Terence Blanchard - Malcolm X

[quote name='sarah thomas' timestamp='1420915669' post='2655047'] Oliver Nelson - Blues and the Abstract Truth [/quote] One of the best, Sarah. Paul Chambers!!!!!

Dave Holland - Emerald Tears (solo double bass cd)

My first thought when I read the OP was that the bandleader/MD needs to sort himself out. Tell him to prepare proper charts and not to rely on the musicians knowing everything in advance. A lyric sheet with chords over the words is arguably the most useless piece of crap you can give someone. I have a couple of people I work with who do that and it almost always ends in a car crash. It doesn't tell you anything. Nevertheless, an intimate knowledge of the idiosyncracies of your chosen genre is really important. Most Jazz tunes do certain things at certain points. Most funk songs do other things at other points etc etc. I am sure that it is the same with gospel stuff.

Mark Levine's Jazz Theory book is the only one you need if all you are looking for is music theory. If you get that (£27 on Amazon?), you will have pretty much all of the information you will ever need. The problem is the application of that information. Without some direction from others, you may struggle to apply some of the information you gather. The reason it is called Jazz Theory is because most pop/funk etc music is based on significant degrees of repetition and a book of 'pop' theory would be very short A lot of the greatest Pop artist are actually backed up by monster Jazz players/composers/arrangers (e.g. Michael Jackson/Quincy Jones, Earth, Wind and Fire was started by ex-Miles Davis Jazzers. Steely Dan records are chock full of Jazzers, as are/were Sting, Madonna, Whitney Houston, Chaka Khan, Ricki Lee Jones, James Taylor etc etc. The list is endless). The notes are the same; it is the application of theories that defines. Classical theory is not that different in terms of the 'maths' (8-note scales) but the application is VERY different and orchestration and instrumentation are much more important.

Brecon Jazz Festival late 1980s. Massive Trace Eliot stack (AH250 plus two of their refelx bass bins). Did first set fine. Went to start second set; dead. After the normal lead twiddling, I went around the back to find that some toe rag had nicked both of the speaker leads. Spares available so all went well but, if I ever meet the t***.....

How long is a piece of string? You need to learn MUSIC nor bass guitar, that is all. I was thinking about this the other day when I saw a book called Scales for Bass Guitar (or something to that effect). Whatever scales exist, exist for every instrument not just one You may not live near a college that offers bass guitar studies but I guarantee you will live near a pianist who can point you in the right direction. Where are you based? That may help people on here guide you. Obviously you need to apply your learning to bass but the let the music guide you. As for Tal, she ios a cool player but not really advanced in any sense. I play regularly with musicians that leave me open-mouthed with how good they are and I ma gradually being dragged along in their slipstream. It's the music that does it, not the instrument. Find some musicians that take you places you may not otherwise go. Talk to pianists, guitarists, sax players etc NOT bass guitarists. They are mostly full of s*** PS I haven't played with Tal, obviously, but I have done a gig with Jason Rebello, his keyboard player. A great experience and I learned a lot.

[quote name='visog' timestamp='1420840974' post='2654235'] Old ones! [/quote] No instrument is bounded to a genre or a time frame. The 'Jaco' or 'Pino' styles of fretless playing are not the only 'schools' and the instrument has moved with the music.

Sounded icky to me. Lyrics were really weak.

That's nonsense. Your formative years and mine are completely different. Pub bands aren't homogenous. I have never played Sex On Fire and you have probably never played Birdland (I have; in a pub in Surrey). People come at this from different angles and the idea that everyone should know certain stuff is nonsense. My first band did 2 covers, Dazed and Confused by Led Zeppelin and Silver Machine by Hawkwind. Never played them again. I was 45 before I played Mustang Sally and 48 before I ever played 'Good TImes' or 'Ain't Nobody' This idea that there are 'required' standards for pub bands is nonsense. The implication is that, if you don't know 'Son Of A Preacher Man' you haven't 'paid your dues' or aren't properly 'schooled'!! The reality is more like 'Do you know -------'? 'No'. 'OK, Let's play something else'. 'O.K'

Played a hslf size once. It looked stupid and felt like a toy bass. It also sounded really thin. Otherwise, it was great