Bilbo

I guess I am being ungrateful

Always a bridesmaid.....

'All the wrong reasons' is because it is shiny!!

[quote name='Kiwi' timestamp='1414575662' post='2590764'] Its been in the shop for over a year though. [/quote] Do you reckon if I offered him a signed photo of me and a bag of toffees, he might let it go?

That Devil's intervals thing is a long established historical fact. The name 'diabolus in musica' ("the Devil in music") has been applied to the interval from at least the early 18th century if not earlier. Iommi would have just picked up on that.

I don't know about science but every time I hear 'Moondance', I want to vomit.

[quote name='skej21' timestamp='1414575276' post='2590752'] It is nice but do you not think its a little too... Erm... What's the word?... Flamboyant for the local WMC bingo bookend gigs? :-P [/quote] F*** 'em

I am not that enamoureed of the fish symbol either as I am an avid athiest but what a piece of kit

http://www.thebassgallery.com/product_details.cfm?ID=2344&type=Bass%20Guitar

Will certainly start there, Skol. Solutions are rarely more than a couple of clicks away!!

I cannot listen to them here but will do. The whole midi composing thing is something I wish I had time to explore more thoroughly. I have heard several incredibly convincing pieces using these methods and am astonished at what you can achieve with a good orchestral VST. I use Miroslav Philharmonik a lot (and many of my Composition Challenge pieces are entirely midi-based) but get frustrated by the apparent conflicts between the software and my Cubase SX platform. It always seems like the orchestration and levels etc I engineer are 'tweaked' during the exporting process and that some of the details in the audio mixdown are not as they were when I locked the recording. It's these sorts of things that I would love to get to the botton of but never have more than an hour or two twice a week to spend on it. The articulartion thing is very sophisticated, though. I find I often go into the midi editor to try and make things more 'real'. It's a laborious process but worth it in the end.

NO!! VOTE NOW!!! VOTE NOW!!!!

I got my first royalty cheque!!! It won't buy a house, it won't buy a car, it won't buy a bass ( ok, maybe one of those Sue Ryder ones) but it's real!! Have sold about 540 copies worldwide. Says I have sold none in Australia!!! Philistines!!!

Always makes me laugh. Like bass guitar scales are different to other instrument's scales.

Always

David Hungate?

Eric Dolphy!!!

I did a gig last Sunday with a UK pianist composer called Andrea Vicari (Streatham) and a Chelmsford based sax player called Zak Barrett (the geography is relevant). Myself and the drummer were local. Andrea turned up with charts for some rearranged standards and a couple of her own tunes. The standards were a mixture of dots and chord sheets but her own compositions were dots. One of them, which had an African Hi-Life vibe, was wall-to-wall dots. There was a 16-bar section which she referred to as ' the Weather Report' bit (gives you some idea of what it was like). No time to rehearse. She said we could leave it out if we wanted but Zak and I looked at each other and said 'let's do it'. Remember, the performance of this tune (and all of the others) was in front of an audience in a live situation. We hit about 90%. My point is, in no way on God's earth woudl that have been even near to possible with tab. This coming weeked, I am performing with a quartet featuring a guitarist from Oxford, a saxophonist from Brighton and a drummer from Gateshead. We are hoping to get an hours rehearsal in to 'top and tail' the charts. We will be playing a whole gig of Pat Metheny tunes (about 16 charts?). Dots and chords again. There is NO WAY this would be possible with tab. I know people will say 'I don't need to be able to do that in my situation'. Of course, that is true. But that also means that your situation will never change. Being able to read, even at my level (I am not as 'fluent' as a top pro), is a MASSIVE boon to playing the best music possible given the variables at play (travel, geography, time etc). Tab would just not deliver that level of flexibility. To me, it's a no-brainer.

Raf did some stuff with Brand X, IIRC.

I have a weekly gig that shows me how deficient my playing is but it is not my technique that is the issue (I occasionally find myself falling short of expectations but usually this is on soloing so any technical inadequacies are of my own making). Where I find my lack of experience shows is in harmonic knowledge. I 'know' what things mean intellectually (e.g. a maj7#11) etc but cannot always 'hear' things as clearly as I should and it shows in my solo lines. When one is playing alongside some of the people I now regularly play with (see the website linked at the bottom in my signature), one is inspired and devastated in equal measure on a regular basis! It is never the execution of ideas that is the problem, it is the depth of those ideas and how they relate to the potential of the music. This week's artist was heard to say that she was 'inspired' by the rhythm section. I was thrilled to hear that but, at the same time, was aware of what went well and what fell short of the mark. As I always say, this is a journey, not a destination.

It is by no means infalable but, much of the time, the LAST chord of the song is the key it is in. But the point is a good one. A little knowlddge is a dangerous thing.

I always find explanations of theory much easier to comprehend when you already know what everything actually means!!

I have done two solo bass pieces using nothing more than a Zoom H1. I have done one with a solo VST cello and one with a two piece VST ensemble using tuba and vibes. It doesn't have ot be all bells and whistles. I actually think some of the compositions with all the tricks and technology are some of the worst in that there is no core 'idea', just a lot of 'stuff'. Just think about what you want to do and make it happen in the easiest way possible.

I think Doddy means more like TTSTTTS, the sahpe of the scale