Bilbo

I have remixed mine, added a new bass part (real, the last was VST), dropped some cymbals and got rid of a few techy glitches. Better but not perfect (the bass fills are 'hotter' than I would like) . The original link still works.

I learned a song once. I won't let it happen again.

[quote name='Jenny_Innie' timestamp='1424178459' post='2693472'] The form of music you are talking about is dying anyway. [/quote] Jazz has been dead for 50 years. Doesn't bother us

I don't really think it matters that much how you get to hear the stuff. If you play it, you are, by definition, hearing it. If you cannot hear it, you cannot play it. The nuances that are required to play well are seldom provided by youtube clips which tend to focus on the superficials so, to be able to move forward, you have to work at the details on your own, hence you develop your ear. Also, there are millions of tunes, solos, compositions etc that never get anywhere near youtube etc. If players remain focussed on the material played by most covers bands, musical development is unlilkely to be a crushing priority anyway. If 'Good Times' is the extent of anyone's aspirations, transcribing a piano solo on Giant Steps or a Maria Schneider arrangement is going to scare the s*** out of them There is a lot more to being a musician than learning basslines.

Steampunk.... Serioulsy, though. I think that the music sub-culture thing has got so disparate that it hasn't got the universality that it had in the past. I know that Jazz history used to be laid out very clearly an dsimplistically; Louis Armstrong, Lester Young, Charlie Parker, John Coltrane, Ornette Coleman but, after that, there was no one strain of Jazz that overwhelmed all of the others. The idea that a bamd like The Beatles can come along and take over everything is no longer credible. In the US in the 1960s, EVERYONE watched Ed SUllivan and EVERYONE saw their debut. EVERYONE listened to Radio One and so one. That is no longer the case and many of the celebrity musicians are unknown and so a 'school' of music is unlikley to form. To be fair, a lot of su-genres are anorack territory. I remember having a surreal conversation with some young rockers years ago; we like speed metal but we don't like death metal... WTF? Hard Rock vs HM etc etc. NWOBHM. It gets harder to tell the differnce.

Some of my old Rock favouites (mostly just nostalgia now): Uriah Heep - Very 'eavy, Very 'umble Rainbw - Rising

With reference to your more general point, I think there is an aspect of learning at play here that is rarely talked about. I think that every player moves forward and develops various aspects of their playing but, periodically, uses the new information to return to the start and to revisit the fundamentals. It is a looping thing. First you learn about rootn notes, then chord tones then, later on, say you develop new insights into intonation. You thn use these new found insights to revisit root notes and chord tones. Leter you get into Jazz ans start learning walking bass lines. In developing these walking bass lines, you revisit intontation and root notes and chord tones and so on, repeating this 'looping' throughout your career as a student. I am not suiggesting that you have to start again but that, as you develop, thinkgs you thought you had a handle on need to be reconsidered. I guess this is why, when we listen back to tapes we did years ago, every sucks!!

21st is Saturday, Paul 😃

[quote name='spectoremg' timestamp='1423854990' post='2689837'] Dark Side... turgid tosh - really?! [/quote] Bores me rigid. Sorry. Not my fault. Liked The Wall and Ummagumma and quite liked Wish You Were Here but DSOTM? Piffle (PS its an opinion. Just ignore it) PPS there is a lot of turgid Jazz as well )half the ECM catalogue for a start!!)

[quote name='Norris' timestamp='1423754487' post='2688663'] One for you then... Marc Johnson's Bass Desires [/quote] Got that when it came out. Another established favourite.

That last but one post is wonderfully helpful, Paul. It makes perfect sense and I can now go back to the track and see what I can do to address these 'artefacts' (get me). My biggest problem with all of this isn't my computer (which remains astonshingly stable for a 12 year old PC using Windows XP), it is finding uninterrupted time to learn and retain all of this stuff I never seem to get more then an hour and a half to sit there knobbing about. Very frustrating!

Five string?

I think Glen Moore (Oregon) tunes his bass in fifths (a four-string). It's essentially cello tuning, isn't it?

It's all Bb Major. C Dorian minor D Phrygian minor G Aeolian minor

I got an hour in tonight trying to nail a few of the glitches that are screwing my final mix up. I spent ages trying to find out why the midi editors would not open. Finally realised that locking the tracks (on the advice of Skol, IIRC) meant exactly that. Still, I learned something more 😃

I started playing in 1980 but had already discovered the marvellous world of musicians magazines even before I got my first bass (I had a guitar in 1975 but it was a total piece of driftweod and of no real use). The magazines I remember were Beat Instrumental and, my favourite, Musicians Only!! MO was a newspaper stye publication, similar to the popular music (as opposed to musicians) mags like Melody Maker, NME and Sounds. It had news and articles and I remember them to be intelligent and a great read. Beat Instrumental was great though. I later got into the US Guitar Player which had plenty of bass related stuff and, when it finally appeared, Bass Player was stunningly good for a while. The best one (which I still have all the copies of) was the shortlived 'Double Bassist' magazine which had absolutely NO space for popular music and was primarily focussed on Jazz, Classical and Avant Garde musics (which explains why it died!!). It was published by Orpheus Publishing and was ultimately absorbed into snother string orientated publication that I cannot recall the name of. Double Bassist would be the one I would love to see return.

PS I have never heard a full Beatles LP, a Stones LP, a Bob Dylan LP or any LPs by Bowie, Elton John, Talking Heads, Lou Reed etc etc I do own Pet Sounds though

I haven't heard 90% of the above and will not be searching them out as I am an autodidact by nature and like to find my own way. It interests me that so many so called 'classics' are completely absent from the experiences of many of us. For instance, I only heard Dark Side of The Moon for the first time last year (or was it the year before that) and thought it a loud of turgid old tosh . Nevertheless, the LPS (yes, it is that far back) that I heard as a teenager that still find their way into my consciousness on a reasonably regular basis would be: Greenslade - Time and Tide (1975) (one of the very few Rock LPs on my ipod) Yes - Close To The Edge (1972) - I came to it later as I was only 9 then!! (not on the ipod) Jon Anderson - Animation (1982) - on the ipod. Honourable mentions to Seconds Out and the rest of the Yes catalogue I did spend a lot of time with ELO as a 10-12 year old and Rush later on but lost interest a long time ago and don't even go there for nostalgia reasons.

It's all gone to cock!! Here is my effort but there are a load of techno glitches in there that I need to deal with which were not on the original so must have been in the audio download. I will try and address it if I get time but, in the meantime, here is my Al Di Meola shredfest. [url="https://soundcloud.com/robert-palmer-1/turkey-three-ways"]https://soundcloud.c...rkey-three-ways[/url]

Agreed, Hector. I seem to be able to play all night on the side of my index finger without any problems but, if the lines are more involved (funk, some Latin, soloing etc), I find it near impossible not to move to a two fingertips approach and that is when the risk of a blister can increase exponentially.

[quote name='anaxcrosswords' timestamp='1423585334' post='2686660'] Aw. I thought I was telling a guitarist joke [/quote] Don't give up your day job, bro

I finished mine last night and will upload it later today (when I can get back to my music PC). It is a kind of faux Al Di Meola track; think Al without the flawless technique and production.

The notes above and below tend to be leading notes so you would play them on the off beats, leading into chord tones on the 'on' beats. The idea of strong beats and weak beats is another thing to think about but take you time and let things develop at a natural pace. Too much stuff too quickly means that stuff doesn't really get absorbed.

[quote name='chaypup' timestamp='1423573842' post='2686457'] Very very nice. Is the rest of the band the same at all the nights you put on or are you the only 'house' player? [/quote] Thanks for the feedback. It started with me and a drummer friend as the core sction but he had to leave and now there is a 'stable' of players that I use (3 guitarists, 3 or 4 pianists, a couple of saxophonists and a few drummers) depending on what is needed. One of our early strategic decisions was not to have the same rhythm section every week because I think that, if you are a rhythm section 'afficianado', you are going to get bored hearing the same people every week (as I do at other similar events). A bit of mixing and matching adds to the variety. I also set up occasional gigs with no drums or other variations (this week, for instance, we have Pete Oxley and Nicolas Meier as a guitar duo, we have had Organ Trios and singer/guitar duos etc) and sometimes I book a whole band which has it's own bass player. As I don't really pay myself, I am the only bass player as a rule but I don't always play. I did use someone else recently just to break it up a bit (I was there, just let someone else who wanted to play have a go for 'expenses').

It goes with the territory, I am afraid. I play regularly with a lot of great players and mostly I am ok but, occasionally, when a Simon Spillett or a Gilad Atzmon comes along, you are driven farther and faster than normal and, under these circumstances, soreness and blistering is a distinct possiblity. 6 weeks without playing is more than enough time for the skin on your fingers to soften. There are creams you can get to help but, overall, I think that maintaining your callouses through regular playing and practice is the only foolproof way of staying on top of it.