Bilbo

Thanks, Skol. I have a couple of my tracks recorded with proper musicians and the stuff is ok but, to my mind, poorly performed (look for Low Men Dancing on my Soundcloud page - they liked that one but, whilst I like the tune, I am not convinced that the performance is up to par. Having got over the thrill of being asked, I am beginning to think that the professional thing to do may be to pass the offer on to Garry. These guys are connected to me and they deserve to have the best they can afford, even if it isn't me I can give them a link to his stuff and it's up to them then.

I worked out a long time ago that you shoudl buy what you want because then the GAS stops. If you buy nearly but not quite, the GAS remains. As a result of this approach, I have a bass I bought in 1986 a guitar I bought pre-millenium and have only ever owned about 5 amps (Frunt, SWR, EDEN and now Acoustic Image). Save you thousands in the long run. Hold out for the Dolphin.

I think what was driving me, recently anyway, was the preparation of the chart in Sibelius rather than the idea of a recorded version of the composition. Having finished the chart, I would create an mp3 file and export it to Cubase where I would populate the file with better (!) VSTs, sometimes adding a bass/double bass for some reason. The mp3, which was often only a head chart, would be used simply to accompany the written score so the other musicians, who are not expert readers by any means, have a fighting chance of nailing the chart. It is only when I go back to them looking for a usable tune that I realised these are only pencil sketches and not oil paintings. I also think that one of the problems I have is that I am writing Jazz tunes that do not quite lend themselves to VSTs and sequencing the way that a lot of other genres might. My bad, all the way.

I have been approached by someone who knows me and who is looking for a piece of original recorded music that they can use for a 1 minute video on their website. The video relates to the services they offer which are nothing to do with music/Jazz or anything that requires the music to be specifically tailored. They just wanted something to provide a suitable but not intrusive soiundtrack to their images (the music is also talked over - you get the point). Anyway, their approach was to ask if I would write something and my response was to say that I had already written dozens of pieces that could meet their needs and that I would put a selection together to see if there was anything they liked. So, last night, I went through the dozens of pieces I have written and recorded to see what I could find. Over recent years, most of my recording has been simply putting together mp3s of tunes I have written for my sax/bass/drums trio and which features a dodgy drum machine, my basses or a VST bass and some nasty synth sounds that approximate a tenor, alto or soprano saxophone or flute. It was immediately apparent that, whatever qualities these compositions have as sketches, they are not remotely credible as products. My older stuff, where I have used more sophisticated drums programnming and played real guitars/basses etc and even sung (mostly me approximating a vocal) are all fairly poorly put together (intros that go on too long, poorly edited starts, low recording volume, shaky vocals, flaky intonation on fretless etc etc). What I am left with is, at the most, about a half dozen things that are OK (they have already identified a piece on my soundcloud page that will meet their needs so I am not overly concerned). I guess the lesson is to do the thing properly, to begin and end things musically, to record real instruments when you can (not programme naff VSTs) and FINISH THE DAMN JOB!! Strangely, I have found the experience quite cathartic and now want to get back to writing and recording to see is I can do it properly and develop my competence in these areas.

[quote name='chris_b' timestamp='1403167221' post='2480322'] Is that how you tune your 3 string bass? [/quote] No - I think it is the music theory for Drum and Bass - 'Oh, C and D....'

My own thoughts are, if you need to read an article on how to play bass in a band, you probably shouldn't play bass in a band.

We wander over and pick up our instruments and then stand around until the lead horn player tells us what tune we are going to play. There is then a moments frantic activity as we look for the requisite chart and then, bam, we're off.

I agree with Hector 100%. One of the rarely talked about 'skills' required for your progress as a musician is the development of a 'critical sense' that allows you to recognise the difference between things that are of value in helping you develop and things that are 'snakeoil'. I don't think there is much in the Galper book that would require you to completely reconfigure your learning, just some ideas that you may want to think about. It isn't chock full of musical exercises but includes some ideas that you can apply to the other stuff you do to make it work a little better. I think there are some books like Effortless Mastery and The Inner Game of Music that are not so much about scales and theory as they are about thoiught porcesses and application. The most fundamental learning tools seem to be listening to and learning other people's solos/lines/comping etc, the mainstream theories of music (scales, chords, modes etc) and learning the reprtoire. Everything else is about concepts and application as defined by your won ambitions as a player/composer. It is not in finding a magic system that will see you improve but in finding a way of staying disciplined in your approach.

It astounds me how few fo these I have heard of!! I am listening to the Jimmy Guiffre Trio with Jim Hall and pre-electric bass Steve Swallow

Don't take any solos. It really is that simple. After every gig I find myself thinking 'I am never going to take any solos ever again'. And then I get the chance and it's 'I can do this, I know I can do this.....'. And then,After every gig I find myself thinking 'I am never going to take any solos ever again'. And then I get the chance and it's 'I can do this, I know I can do this.....'. And then, After every gig I find myself thinking 'I am never going to take any solos ever again'. And then I get the chance and it's 'I can do this, I know I can do this.....'. And then, After every gig I find myself thinking 'I am never going to take any solos ever again'. And then I get the chance and it's 'I can do this, I know I can do this.....'. And then,

I have tried three avenues of exploration to fate but nothing was happening. Something came to mind again at the end of a two hour session last Saturday and I know where to take it so, here's hoping.

[quote name='fatgoogle' timestamp='1402500032' post='2474175'] A friends cello had the top cut off by TSA. They even put it back in the case and she didn't realise till she left the airport. A 70 K cello ruined. [/quote] Did she sue? I just wondered if they get away with it?

[quote name='RhysP' timestamp='1402499722' post='2474171'] "Jazz" music, records "mainly for film"? Admit it, It was a porn film soundtrack, wasn't it? [/quote] I think it's more likely to be Lady and the Tramp or The Aristocats, Rhys!! He does a lot a animal history programmes for National Georgraphic Channel and the like.

I just got paid for my session. The producer (an old, old friend I was in Art college with in 1982/3) is thrilled with the performance ('very, very happy'). The payment worked out pretty cool on an hourly rate basis so everyone is happy. He has told me I am now his first call Jazz bass player (I don't think it will need it to be NHOP standard!! ). Buzzing! Interestingly, my friend records mainly for film so the 48.000 sample rate for DVD would mnake sense.

Not read the whole thread but I always think that religion is best when it informs how you live your life rather than it becoming the reason you live you life. i.e. A Christian baker, a Christian plumber. Why not a Christian musician. You serve your God by being the best person you can be not by being all pious and worthy!! NB I am a Humanist if I am anything, so don't listen to me.

Apparently, they once destroyed a concert pianist's grand piano because the glue 'smelt funny'.

Just came in on facebook http://thejazzline.com/news/2014/06/airport-tsa-instrument-damage-john-patitucci-bass/

I saw this the other day and forgot to comment. There is a lot to commend it but can I suggest you included the head in the performance next time? It gives the listener a handle on where the harmony is going and, without that, it is just finger wiggling. Although I know the tune (played it on a gig last Sunday, in fact), I struggled to hear the chords you were playing against. Anyone who doesn't know the tune would be lost.

I haven't even started yet (got something developing in my sick and twisted mind but, so far, nothing on paper or on virtual tape)!

I think they just show this weeks episode from 79, so you get what was on, not an edited highlights.

They may have been great musicians but that doesn't make the end results any less irritating. Like Jameson playing My Girl; it don't make it any less a turd.

I sawed the end off the old one and insert the new one in the space made available. It is held in with the endpin screw on the existing assembly. Simple. The end of the old endpin is still in there as I have not pushed it through and have not had to fish it out through the f-holes. It makes no noise and does no harm so there is nothing to worry about.

That's it. I got a recording of the track the producer was working on and he told me it was 90 bpm. I copied the audio file into cubase and recorded my bit (defaulted to 0.00 on the clock so he can line it up when I send it back to him). The learning point for me was that he wanted it recorded at a sample rate of 24bit/48.000khz but I could only do it 24 bit/44.100 khz (Cubase defaults to 33.1 for some reason) so he sent me a copy at 44.100 so I could work with it (if you record at the wrong sample rate, the thing is not in tune). He also asked me to record the thing as dry as humanly possible and he would add the EQ and effects at this end. The recording I sent him was horrible because it was what I really soound like warts and all.

'Shadows and Light' and the Mendoza album are my favourites but anythnig Joni does is fine by me. Exquisite artistry from the forceps to the stone. And a great painter as well.

Something is getting mashed, that's for sure!! Just another point I wanted to add. The end-pin arrangement Ben's pin's involves means that every time you use the pin, the bass is at EXACTLY the same height that it was teh last time (I always found the old system worked on a kind of 'in the ball park' basis. I am finding the absolute stability of the set up is a major boon in helping me regulate my intonation. Matt Wates this week!