Bilbo

Totally agree. And not Sheehan chops, GROOVE chops!!

Biggin' up Mars who played with Tommy Aldrige and Pat Thrall in Pat Travers' Band. I am listening to their Crash and Burn album and loving the vibe. Great production from Travers and Dennis Mackay. Check it out if you get a chance.

Whenever I see a double bass for sale, I have a look just out of interest. WHat amuses me is that, whether the bass is £15K or £500, the photos as look the bleeding same to me

Jimmy Guiffre Trio - The Jimmy Guiffre Seven

Not the opening notes of Silly Putty? There are drums in there but the bass is very exposed.

I think I finished recording my piece last night. Now it is mixing and tweaking before submission.

At least I know now. What kind of gigs are you looking for on it?

Will try those ideas. Thank you.

I lived in Farnham for about 7 years and bought an SWR Baby Blue amp at the GV. It's a great shop but I cannot recall any basses when I was there (my amp was a second hand one someone had traded in). They must have had some but all I can remember is cheap sh*t, massive hollow body Jazz guitars for £5k and a British Racing Green Fender Strat for £20K+. I certainly never tried a bass out in there (but I hardly ever try basses out as I am never seeking actually to buy one )

Phew! I thought that damn penguin had done for me.

Added some ES175 lines last night and followed Dad's advice and moved the 'slow' instruments forward a tiny notch. Seems to have sorted the problem nicely. Lesson learned. I also copied some parts and double them up which filled things out nicely, as did chaning the Philharmonik string pads from 11 strings to 23. I have an irritatingly quiet flugelhorn/trumpet part that I need to change to something with more presence. May try oboe or clarinet or even English Horn. My composition has essentially based around three counterpoint lines (4 but one is minimal) that all need to be heard simulaneously. I am trying to find a way of bringing each line forward without creating a mush. It is all in the arrangement but this is compromised by the technology so I have to find an alternative means to get to my intended end.

[quote name='pete.young' timestamp='1408450958' post='2530238'] At least you didn't call me. Things weren't even close to desperate :-) [/quote] Double bass gig, Pete. I didn't think you played double bass?

Maybe it's just that, whereas we old folks used to wait for the latest stuff to appear, people now jump around the history of music to find interesting things. Like authors, we find one we like and then read all of their stuff; sometimes its a current book, sometimes a classic. I think young people do know the old stuff but also listen to the new. The field is so much alrger than it was in my day, although you wouldn't know it if you visted a high street record store. I guess this is why we saw the demise of such stores. The market is now SO diversified, the locals cannot possibly stock a sufficiently wide selection AND generate a profit. Interesting that we now see more second had record stores than new ones (the music industry equivalent of charity shops!!).

[quote name='bassace' timestamp='1408466788' post='2530497'] 73 I saw myself on YouTube from a gig two weeks ago. Time to stop. I can still play, lift the cab, but.............time to stop. [/quote] We need the link!! We need the link!!

21 years ago!! That's amazing. A bit like Neil Peart being the new guy in Rush.

They said I was too old. Bastards.

I used to sing at school and won the local Eisteddfod year after year )(6 – 9 years old) until the inevitable happened (kerchuck). I remember seeing two films (actual reel to reel movies) in my first music lesson at the Comprehensive school; it was Peter and The Wolf and Ravel’s Bolero – both as a sort of guide to the orchestra. I ran home and told Mum and, lo and behold, she had the Ravel piece on a record!! I wore it out. I knew I wanted to play but my parents would not have had the money for lessons or an instrument. I asked in school if I could use one of theirs and they said no. Hated them ever since but, at around 12, I visited dome older cousins and one of them gave me a guitar. To say it was a piece of crap is an understatement but, if I tell you it had 2 nylon strings and 4 steel ones, you will get the idea. I cocked about with that until I left school and, on the day I started work (1980) I ordered a Hondo II Precision copy (black) and a Carlsboro Cobra combo. I am ready to roll!!. I learned at home and, the following December, I got an audition into a local NWOBHM band called No Quarter. Local heroes so you can imagine, I was sh***ing myself. I did the audition with my Hondo and Carlsboro and got the gig on the proviso that I got a bigger amp. Enter Sound City amp and custom 2x 18 cab I bought off the band’s ex-bass player followed by Frunt transistor amp (remember the – I bought it because Percy Jones endorsed them and I was already looking over the fence at fusion). We were in the studio within weeks and did a Friday Rock Show session early in 1982 (I think) before recording a track for the Heavy Metal Heroes Vol 1 LP. It’s been downhill ever since Then came an Aria SB700 before, in 1986, still in my Percy Jones pohase, I got my Wal Custom Fretless (£740). I have since had a Washburn Status headless (Jon Caulfield still has it, I think), a Status Energy 6 and 4 but they have all gone and it’s only the Wal now. Left No Quarter after 2 years because I wanted to play fusion and prog. Got into a band that rehearsed but never gigged and set up my own band that rehearsed and never gigged before joining Silent Partner in Chepstow with Grant Nicholas of Feeder fame and producer Brian Sperber). Did a couple of gigs and recordings but that petered out and, by this time, I was at last playing Jazz in Cardiff (getting on for 30 by now). Forward most of two decades and I start playing the double bass and running my own Jazz events. I wish I had done it years ago.

Got another session in last night and got what I have done into Cubase and added nylon guitar and fretless bass. Now I need to think about my VSTs. The ones I used yesterday had a slow attack on the strings and sounded out of synch as a result. Need to find another sound to approximate an accordian!! The one on Sibelius sounds perfect but I cannot use it 'off piste'!! This part is always frustrating because you can spend hours on just searching for a sound and make no real progress on the project.

Yeah! The other guys are REALLY good!!

I guess its about your approach. Trying to do the rock 'n' roll rebel thing when you are 'getting on' in years can look a bit silly but, if you approach the issue with humility, why worry? As a 51 year old jazzer, I recently did a gig with the 75 year old Peter King and he totally kicked our arses into next week! Lots of jazzers keep going until health or heart attacks prevent them continuing. As long as you have the chops and don't look a bit sad, there is no reason to stop. As for what young kids think, I really don't give a rat's arse. There is nothing more uncool than a teenager who thinks s/he's cool.

Of course todays kids will reminisce about the stuff they listen to today. Most of what is popular at any point is filtered through time and what remains is a 'best of' selection. I often think, when I look back to charts of yesteryear, 'what was that, I don't know that band, who is he' and so on. Over time, the various artists are honed down to a select few and we 'forget' the dross (unless there is something specific it references for us. My first single was Billy Don't Be A Hero by Paper Lace. I later tried to swap it for Good Grief Christina by Chicory Tip. Both significant records for me, both utter sh*te to everyone else! Popular culture HAS to change, that is what it is for!!

I am not a teacher but I hear some use language as a means of focussing the mind of the student. For example: 2 beats is Apple, 3 is Banana, 4 pomegranate and so on. COuld this be varied to meet his needs?

[quote name='Dad3353' timestamp='1408359034' post='2529264'] On se lèche des babines... [size=4] [/size] [/quote] What's the worst thing that can happen?

I made some progress over the weekend so should get something in this month. Not sure how 'finished' it will be. though. It all depends on how much time I can put in on it. What I have so far is a Sibelius chart that sounds great as a substantive skeleton track (bass, accordian, flute, piccolo, flugelhorn and strings). It needs to be converted into a MIDI file, uploaded onto Cubase and populated with VSTs before I add more 'real' instruments (nylon guitar and electric guitar at least) and some vocals. It could be done, though. We'll see.

Despite having met several people from the BC community in real life, I am pretty sure I have never seen any of them play!! I think I have jsut got to the point where I play gigs but never really go and seem any!! I did se Jasper Holby once and he is on here but never posts (he PM'd me after I posted a transcription of Abraham's New Gift)