Bilbo

I did a gig with it a couple of weeks ago and it went 'microphonic'. Took it to a rehearsal yesterday and my Wal sounded like it had been eq'd to play the theme to Rhubard and Custard - yes, REALLY like that -ni ni ni noooooooow, ni ni ni noooooow ni ni ni ninty nowwwwwwwwww. Changed guitar, leads and speakers so confirmed its demise, Now with the repairers . Its hard being me sometimes

You will all be pleased to note that my finger is now mostly healed so I am back on course for practising. Mrs. Baggins os off to her mother's tomorrow so I can get some real time in and nail that Cello Suite (yeah, right!!) In the meantime, in case anyone thought this was getting too easy, I stabbed myself in the thumb on my right hand yesterday so my dedicated double thumbing practice time on electric will have to defer to the double bass for the time being. Not a pain thing, I don't use that thumb for anything on the double bass, but the blood pouring out of the wound does ruin the carpets so I have it taped up like Mark King!! I never though bass playing would be as hazardous as a contact sport.

Some new finds: Ipswich's Andi Hopggod has released a new CD with Steve Melling (p), Geoff Gascoyne (bs) and Sebastian De Krom (dr) in the rhythm section. Some great arrangements (I Fall In Love Too Easily in 5/4 works beautifully, Dulcinea is another highlight). Go to www.andihopgood.com for more details but the music can be heard on Spotify or via itunes. 12 tracks, great value for money. I got hold of an old Scott Colley trio cd (Bill Stewart and Chris Potter) that ticks all the boxes: it's called The Magic Line. Think Ornette Coleman but with a better horn player Other downloads I am enjoying include another Colley appearance on a Thomas Savy (bass clarinet) trio recording (French Suite) [url="http://www.amazon.co.uk/French-Suite-Thomas-Savy/dp/B002RSH2MW/ref=sr_1_1?ie=UTF8&s=music&qid=1271076119&sr=1-1"]http://www.amazon.co.uk/French-Suite-Thoma...6119&sr=1-1[/url] John Hicks - A Billy Strayhorn Songbook: Something To Live For. Marvellous trio with Dwayne Dolphin on bass [url="http://www.amazon.co.uk/Something-Live-John-Hicks/dp/B00000AGFM/ref=sr_1_1?ie=UTF8&s=music&qid=1271076053&sr=1-1"]http://www.amazon.co.uk/Something-Live-Joh...6053&sr=1-1[/url] Joey Baron with John Taylor and Marc Johnson (Rosslyn) - saw them live a few years ago - the greatest arco sound I have ever heard on a bass that was built whilst Bach was still alive!! [url="http://www.amazon.co.uk/Rosslyn-John-Taylor/dp/B00007KN2G/ref=sr_1_1?ie=UTF8&s=music&qid=1271076081&sr=1-1"]http://www.amazon.co.uk/Rosslyn-John-Taylo...6081&sr=1-1[/url] NOT enjoying McLaughlin with Hadrien Feraud - pointless flapping around - hard to play but really not worth the effort

I always advocate for Mark Levine's 'The Jazz Theory Book'. A book of scales will not really do anything without some input about application. Levine's book is a must have and will save you a lot of money in the long run as it will be the only book you really need (other than something on how to read music - you will need a rudimentary understanding of reading to get the most out of Levine).

What I strive for, and sometimes get, is a sound that is ultimately integrated into the ensemble and works with the other instruments present to create an overall feel that is musical. I like to hear a note; no strings, no amp, no electronics, no metal (that's why I don't like fretted basses), no 'techniques', just a pure note. I like it when I can't actually hear the instrument at all, just the note. I guess that's why I am not overly inclined towards GAS; I am trying to eliminate the gear from the process of sound generation, not highlight it!! Having taken up the double bass recently, I am interested in the ease with which its tone integrates into the ensemble - I guess its the difference between an acoustic and and electrc instrument. My fear is, as I get into the pick-ups/amplification technology necessary for live playing, I am going to have to re-learn how to use the gear to get louder without introducing each of the components in the signal chain into the final sound. I guess its about getting as much of the instruments true voice into the amplified sound. In a studio or any setting with a PA, I will be able to use microphones to capture/amplify the sound but these settings are rare for jobing jazzers and pick-ups and amps are a fact of life. My research tells me this is gpoing to be a life-long quest but that's nothing new. Its the notes that matter, the music, not the gear you make it with. When the note is right, I am smiling.

Keep doing the lessons and keep practising and before too long you will be better than the rest of the dross out there and will have no problem getting/keeping a gig. Also, if you can read, you will be able to broaden your horizons and not just play Rock/Metal which, however great you think it is now, you will probably grow out of sooner or later As for the covers thing? Don't do it. Its crap.

Got a six then a five but never really used them. Now selling my Status 5 with no intention of replacing it. The low B thing is a perfectly useful tool but it certainly isn't a 'must have'. As for the not having to make big jumps for the low F, when do any of us ever have to move that quickly that the jump isn't perfectly achievable? IME, every musician has more technique than they know how to use creatively and having an extra string is rarely a defining aspect of their playing. I find the low B's undermine the overall stability of my sound - I work hard on integrating my sound within the music I play (my intention is to have it 'disappear' into the ensemble) and have done so quite successfully over the years. Whenever I have a low B, it sticks out like a sore thumb and interferes with my overall concept. Don't really like them (although I love Anthony Jackson and Flim Johnson, I don't feel the need to emulate them).

There was a clue in there. I guess I was being too clever : PMRC In 1985, Dr. [b]Joe Stuessy[/b] testified to the United States Congress at the Parents Music Resource Center hearings that: The message [of a piece of heavy metal music] may also be covert or subliminal. Sometimes subaudible tracks are mixed in underneath other, louder tracks. These are heard by the subconscious but not the conscious mind. [b]Sometimes the messages are audible but are backward[/b], called backmasking. There is disagreement among experts regarding the effectiveness of subliminals. We need more research on that.[86]

[quote name='lowdown' post='798862' date='Apr 7 2010, 04:09 PM']When in doubt just use insert text and ///... Always a good get out of jail free card .....or //// Garry[/quote] There were four slash chords as bar so that wouldn't work!!

IME, to read these phrases, it helps to count the pulse as 16ths as in: ONE 2 3 4 - TWO 2 3 4 - Three 2 3 4 - Four 2 3 4. Or One er and er Two er and er Three er and er Four er and er ...... whatever works for you.

[quote name='Beneath It All' post='798775' date='Apr 7 2010, 03:03 PM']...............................Not so much the D flat/C sharp,but the next change; B flat sus 4/C#!!!![/quote] I know what has happened. When I was formatting the chart, I was struggling to get the slash chords above the notes they related to in the space provided across one bar. I spent a bit of time toing and froing with odds and sods and had to change some chords as I had, due to a slow shift key, put in question marks in some chords instead of slashes. I guess that somewhere in all this, mistakes got made.

[quote name='Golchen' post='798605' date='Apr 7 2010, 12:42 PM']Yeah, that Beethoven was such a musical retard![/quote] I meant the Hamm performance (ironic, huh?) not the composition per se (although I am not a fan of that either, to be honest). I have a bit of a problem with tapping in general - its just not a sound I like very much, although there are occasional exceptions.

With my eyesight? Better off putting the £5 towards a new pair of specs!

Lots of people want to be a musician. Some of us have to be. I could no more walk away from playing than I could give up food. The older I get (46), the more excited I am about its potential. I want more and more from it not less. Its your call.

Dreadful piece. Circus trick: nothing musical about it. But that's just me

[quote name='lowdown' post='798395' date='Apr 7 2010, 09:48 AM']I think he might mean on the enharmonic front... [ A mistake you made ] Db chord - C# notation...[/quote] I do that all of the time..... Its because I don't read the chords if I am reading the dots and vice versa. Must do better

Each to his own but I have always found Ken Smith basses to be ugly looking things. They can sound ok but not sufficiently 'idiosyncratic' to make them a 'must have'. I wouldn't buy one even if I had the money.

[quote name='Beneath It All' post='798184' date='Apr 6 2010, 11:13 PM']Pretty good- bar 20 needs some work!!![/quote] What's up with it? (can't download pdfs in work)

An iconic moment in jazz fusion bass. Beautiful in its exquisite simplicity.

Bass projects, Chris. You may have heard your tone as an audience member for the first time!! When you stand near the amp, you are not hearing what the audience is hearing. You probably sound better than you think. :):)

I just need some reassurance on thumb position playing. I was watching John Patitucci play on a dvd (w. Horacio Hernandez) and his thumb postion playing looked effortless. I assume the searing pain in the side of my thumb which I experience when I use this technique will pass as the famous callouses develop? Has anyone noticed that Paul Chambers never played above thumb position?