JakeBrownBass

[quote name='OliverBlackman' timestamp='1340308983' post='1702783'] bass playing was good, i just felt the singer copped out of too many high parts and that it was lacking texture, i.e.. Could have done with 3 or 4 B.V's. But thats just minor things that would turn it from a good performance into a great. It's difficult for me because I'm a big MJ fan and the 'This is it' recordings were perfection as far as i'm concerned. You have a fantastic opportunity though to play some great songs on a lengthy tour, a gig I doubt many would turn down. [/quote] Yeah, the backing singers are coming for the rest of the tour, they've been sorting out the finance side of it all. Its a shame it's taking so long but as we all know, everything comes down to money Were only a 5 piece band compared to MJ's 10 piece i think it was. Only so much you can get away with on track.

[quote name='stingrayPete1977' timestamp='1340306752' post='1702746'] I dont know why I did not check out your site first Jake, you are a legend! Thanks alot [/quote] Not one of mine but thanks for the compliment It's one of Simon's from the Bassment.

no one enjoy a bit of J5 then?

The playings really good from all of you Tom, just seems a little [i]too [/i]polished. Also a side note, theres a couple of moments in that song that will make other musicians smile with delight, but ultimately on a dance floor make punters look around and try and figure why they stopped dancing, what seems like nothing to a studio room full of musicians make's a difference on the show IME. It's just finding the balance. I'm sorry to say i'm not a fan of the vocals either, can work out what it is. She can sing, no denying that. Might just be the mix. But saying all that, great playing all round

[quote name='stingrayPete1977' timestamp='1340303051' post='1702671'] Thats it really, ta (No tab thanks) [/quote] [attachment=111034:Stealers Wheel - Stuck In The Middle With You.pdf]

http://www.youtube.com/watch?v=NXoedRAaFms Some Col Bruce Hampton & The Aquarium Rescue Unit. You can't see me but you can hear

Sound Technology are the UK distributors. I'm guessing your in the UK your profile doesn't say. http://www.soundtech.co.uk/index.php Fire them an email, i'm sure they can help.

[url="http://a3.sphotos.ak.fbcdn.net/hphotos-ak-ash3/564955_2846724587613_1292198126_n.jpg"][/url] My smexy Moog & EBS rig at last weeks show

[quote name='BigRedX' timestamp='1340200267' post='1700915'] So here's the quandary. If you only endorse gear that you are already using what is the benefit to you? For instance I have a Mono case I think it's great, but I don't need another and if it was to wear out any time soon and need replacing then I wouldn't be impressed with it any more and would probably get another make of case instead. I can see the possibilities for consumables like strings and picks, and the idea that if I was gigging outside of the UK I could guarantee that a rig from the amp/speaker company I endorsed would be available to me. [/quote] Most recent example, going on tour taking two basses with me. Need a double case to save space/both on your back for load in. Call mono, get case.

Endorsements are funny things. Only top names get 100% free gear. But in return for this, they have to appear at trade shows for the said company, photo shoots, press shoots etc... So it's not technically 'free' as you have to give back time for it. It's much more common to have artist discounts and then other benefits from companies, but this varies from each company to the next. There's no set artist discount either, some have a set discount for everyone, others have a tier system depending on who you are and what you do. Companies get lots and lots of requests for endorsement as people generally think it's free gear so fire off to every name they find. It's not. My personal opinion is you should endorse gear you trust & have used for a while. Not just send emails out/phonecalls then pick the company that gives you the best deal. I endorse EBS & Mono cases. Prior to contacting these companies, i'd been playing EBS amps for a good 5 years and been through almost the entire range (hd350, Fafner, TD650, Proline 410/210/212 Neoline 112/110 & 2 classic 410). I knew they were the company i wanted to work with & it had been my preferred 'sound' for enough time for me to make the decision. The reason i initially got in touch was to get information on there Reidmar when it wasn't released and it came from there. What had to do to be offered the discounts is not really a set science. I'm on a tour that has dates until summer 2013, i get thousand of hits on my website a week for my transcriptions, tens of thousand video views & regular questions on what gear i use. I'm not on their sites yet but that through my own tardiness of sending a photo & bio through. Jake

Just a recording of the last show with the tribute. [size=5][color=#000000][font=Helvetica][url="http://soundcloud.com/jakebrownbass/forever-michael-07-jackson-5/s-R0pUf"]http://soundcloud.co...ckson-5/s-R0pUf[/url][/font][/color][/size]

I've got a few west end pads. Gareth Hughes on this forum has a lot afaik so might be worth pm'ing him and asking nicely.

[quote name='uncle psychosis' timestamp='1339797925' post='1694765'] I still can't make it all the way through Billie Jean without my arm/fingers/hand wanting to fall off. [/quote] The tour i'm on has an 8 minute rendition of Billie Jean with full dance routines. It really is a killer on stamina playing the f# octave to emulate the synth line as well, all whilst keeping it as smooth as possible!!

I don't even think it's a plug. He's just posted an example of him using the technique. If he hadn't, people would have asked for examples...

Hmm, this entire story is one persons word against the other. I don't think we can dismiss what Americano is saying just because the OP is a member here. If they have issues that they still need to sort out, they should do it. Just not on a public forum where it's going to end up like a playground fight.

[attachment=110399:Screen Shot 2012-06-14 at 16.23.36.png]

I've had the same bass for over 2 years now and use it every day. Before that i was chopping and changing but found a bass that plays like a dream and sounds phenomenal. I toyed with selling it a while back and came to my sense. Can't see it going anywhere any time soon.

[quote name='enviropig' timestamp='1339531591' post='1690145'] Hi guys, thanks very much for your advice - much appreciated. I hadn't really considered the V-bass before, but it may be worth a good look. I also really like the look of the Arturia Moog VST. Would just have to choose an appropriate interface device for my Juno, and some decent software! Thanks again. [/quote] The Arturia Minimoog is a standalone program as well as a plugin for your DAW. So if you have a interface your ready to go.

The closest way you'll get to the sounds on the MJ tracks without buying a moog yourself is with virtual instruments & use your Juno as a controller. For example, http://www.arturia.com/evolution/en/products/minimoogv/intro.html This is by far the best Moog VST on the market imo. Almost all the iconic bass sounds on MJ's songs were recorded on 2 modded Mini Moogs. Half the feel of the tracks sounds how they do because they're being played on a keyboard and not a bass. I'm on tour with a Michael Jackson tribute at the moment and getting great results with a Moog Little Phatty.

[quote name='skej21' timestamp='1339345669' post='1687157'] I agree, but just because the composer might not have understood the harmony they used, doesn't mean that it can't be explained. Also, harmony, melody, music etc is a set science. Just because rocks don't understand how fossils are formed, doesn't mean we don't understand it. It's about the level of understanding the person analysing has on how the music can be explained. Like transcription. Just because one person doesn't have the skills to do it, doesn't mean it's beyond everyone. [/quote] Yes but as with science there can abnormalities . I'm not talking about people that wrote the songs not understanding. There are instances in songs where 1 chord is in there, out of the blue with no real explanation other than 'it changed key for half a bar or a bar'. And personally, that's not a valid analysis for me.

[quote name='skej21' timestamp='1339149417' post='1684308'] Unsure that you are correct here. I've never analysed a piece and found chord choices that cannot be explained theoretically... Most of the time, these 'random' chords (as you describe them) are the result of a slight alteration to the key centre, known as a 'transient modulation'. This usually occurs as a side step into a related key momentarily (a good example of this would be a tritone substitution) or switching the diatonic chord through a small scale alteration. For example, having a G7 chord (the diatonic dominant chord in C major) but changing that to G7b13 (the fifth diatonic chord of C melodic minor), you have created a transient modulation from C major to C melodic minor. That's not just a 'random' chord because it sounded good. It is usually followed by implied harmony in the melody that needs the b13 to act as a passing chromaticism to the next chord/melodic phrase. I would be interested to see what you mean by 'random' chords though. Ps, Nicolas Slonimskys book 'Thesaurus of Scales and Melodic Patterns' is a great book if you want to really understand the theory behind almost every possible element of melody and harmony [/quote] Sorry, what I meant by 'random chords' is when you can get 1 chord in a song that doesn't 'work' with all the common analysis techniques. Where there's a single chord that's not a substition, borrowed chord, relative minor, parallel minor, modulation and any other harmonic device. I'll dig out the last tune I looked at when I'm home, can't remember the name of it now. The thing about analysing songs harmony is that it's not a set science. Songs are generally written by hearing something, playing it, writing it down. Analysing it is the opposite, mean you will never really know what the original writer heard in their head and whether or not they wrote and shared a chart themself.

[quote name='paul_5' timestamp='1339240277' post='1685718'] Hi All, anyone got a transcription of Jaco's line for this? [/quote] Send me your email and i'll send one across.

Eeesh, the bass players heard the original and decided to totally ignore the groove and feel of the song. And don't get me started on the singer.

When unsure about keys, analyse the chord changes with Roman Numerals (this is a good exercise in it's self). You begin to find sub dominants, borrowed chords etc... Then when things start to really make no sense the song has generally, changed key or it's simply a random chord that sounded good and makes no theoretical sense.