ambient

Personally I wouldn't risk anyone of them shipping an instrument. I'd use national rail enquiries and book a cheap advance train ticket, or national express and go by coach. You get a day out too !

Read the small print, especially regarding any insurance. Most don't insure instruments, even though they'll take the money off you.

[quote name='BassTractor' timestamp='1453305704' post='2958289'] Ha! Memories of old days! Back in the Pleistocene I had several teachers who did stuff like that. I tried to upload pics, but PhotoBucket failed me. May try later. Anyway, we'd find ourselves on the floor studying scores that were several yards wide as well as deep, so you'd have to sit on them to read the top of the score the right way. One of my teachers found sort of a solution in drawing the score directly on an electronic whiteboard, and then the computer rather than a player would translate it into music. Not live though I think. IMS we had to make two drawings on the whiteboard, and after each drawing, the computer would have to analyse and store, before combining the data into one composition. Good times! . . ...that I don't want back. [/quote] I'd love to see photos please, if you can.

[quote name='ahpook' timestamp='1453293525' post='2958118'] Reminds me of the graphic scores of Cornelius Cardew [url="http://cdn.lrb.co.uk/assets/edillus/gott01_3105_02.gif"]http://cdn.lrb.co.uk...t01_3105_02.gif[/url] [/quote] We looked at Cardew's last week. These were from last week too - [attachment=210215:12400458_459438644264402_5260268599431189040_n.jpg]

My motto is, if I can't pick it up in person then I won't bother. It's just a shame more aren't like me.

[quote name='Mykesbass' timestamp='1453290560' post='2958074'] Now I'll admit to being slightly out of my depth here, but isn't that how Terry Riley's In C works? I'm pretty sure I saw something along those lines on a Culture Show a couple of years back. [/quote] Kind of, but in C, it's the performer that decides when to move on to the next part, and how many times to play it before again moving on. Here the conductor makes the decisions. This has actual sections, kind of like A and B etc in a jazz score. It was done for the Lonfon Jazz Composers orchestra. http://youtu.be/HVtg2lQ5OQo

Tracy Chapman's Happy album was pretty good. Gabriel's last solo studio album was really good, that was 10 years ago now though. I also really liked his orchestral reworking album. The live arrangement of Sigmal to noise was fantastic. http://youtu.be/ZXFVOWIX_gE

[quote name='Mykesbass' timestamp='1453276917' post='2957947'] That's not what I was expecting - I was thinking they would be traditional scores that created a very graphic look from the patterns of the notes. They really are something else! Are they fairly easy to understand and follow for a competent reader? [/quote] They're meant to be used with a conductor. He would hold up a placard with a letter on so you'd play that section. Some parts have hand signals printed next to them too. The idea is that it's up to the conductor to decide which part you play next. He may just have one part of the ensemble play one section, while another plays a different section.

We were looking at these incredible graphic scores today in a lecture. They're compositions by a jazz double bassist called Barry Guy. These are mostly in black and white, but the one we actually saw in class was in colour, and poster size. [attachment=210198:pod38_guy3.jpg][attachment=210199:pod38_guy4.jpg]

Martin at the Gallery.

I started on violin as a child, so I learned then, having weekly lessons at school. I then started playing classical guitar, and continued reading. When I started playing bass, I didn't realise that you could play without reading music. It sounds odd now, but I expected to be given stuff to read.

[quote name='mrtcat' timestamp='1453241502' post='2957838'] From the other side of the fence, if you are a band and you are auditioning players you are usually grateful if: 1. Auditionee is on time. 2. Auditionee is prepared. 3. Auditionee has described themselves and their ability honestly in their advert. 4. Auditionee doesn't smell bad and generally is pleasant. Beyond that it's great when you find the right person but you certainly don't begrudge anyone who doesn't fit as long as they have adhered to points 1-4 so there's actually very little to be afraid of. [/quote] Add to that list sober and has his or her own bass .

I'd rather wait and hopefully see Gabriel on his own. I've seen him on DVD and his shows are amazing, String is always rather pretentious.

Peter Gabriel is great. I don't like Sting though. I was hoping for a new Gabriel studio album. They've been recording it for years.

Personally I wouldn't force myself to do something. If you don't do a good audition, that could really affect your confidence. If you're not confident, ask yourself why, identify the areas of your playing that you feel are week, work on them, maybe have a few lessons ? When you're more confident, then start looking for a band.

[quote name='KK Jale' timestamp='1453171106' post='2957129'] I think it's the highest possible calling for a carefully-crafted inanimate object to be gradually worn out in the heat of battle. If my Precision finally falls apart at exactly the same time I do, that'll be a result for both of us. [/quote] Battle ? I wouldn't fancy any of your gigs 😄.

I only own one bass, so use it for all my gigs. I don't accept that it will get dented and scratched though. A friend of mine is a cellist. Her cello was made in Italy at the beginning of the 19th century. It has survived Napoleon and 2 world wars. It has flown all over the world, and played in orchestras and theatre pits. She's quite avant-garde with regard to playing, using a pick sometimes, or the wood of the bow. While it's most definitely not mint, it's in a lot better condition than some basses you see.

I'm absolutely paranoid about my new Roscoe. It is mint and I'll be heartbroken if anything happens to it.

I recently bought a beautiful Roscoe SKB3006 from Mark. He was an absolute dream to deal with.

I tend to use Google, if I'm after a specific sound that I've heard on a recording. What sound are you after ?

If you can stretch your budget slightly, the Markbass Compressore can be had for £119 brand new.

I'm careful with mine, not anally so though. The Modulus Q6 that I sold before Christmas was 16 years old. I'd done dozens of gigs with it, it'd been taken backwards and forwards to uni in London from Birmingham 3 days a week for 3 years. It was in amazing condition though. I smile when I see adverts stating, "this is a players bass, and has the inevitable wear and tear to prove it". Mine are also "players" instruments, I just maybe look after them a bit better.

[quote name='dood' timestamp='1452939184' post='2954843'] TC Electronic Hyper Gravity is my top spot favourite compressor. About 100 quid I think but essentially you have TC's famed studio triple band compressors in a pedal. Very nice! [/quote] Is it any good ? I read on the Ovnilab site that the guy wouldn't even review it, but had heard that it was very noisy. [url="http://www.ovnilab.com/reviews/hyper.shtml"]http://www.ovnilab.com/reviews/hyper.shtml[/url]

[quote name='discreet' timestamp='1453071229' post='2956206'] Of course you're right to be worried. Ba-oooooww!! [/quote] My dad and brothers laugh at me, I can't help it though .

That's something I'd love to have, my house can be so noisy sometimes. The only thing is I tend to work through the night sometimes, and I'm erm............................scared of the dark . I'd be imagining all sorts of things outside while I was inside.