ambient

[quote name='Billy Apple' timestamp='1388269525' post='2320336'] Looking good! Yup, you get woodworm holes in Wishbass wood. He uses reclaimed and found wood for that authentic rustic patina! Have you checked the Wishbass re-fins at Dave's Bass Place? [url="http://www.davesbassplace.com/DavesBassPlace/Refinishing.html"]http://www.davesbass...efinishing.html[/url] [/quote] Some very cool looking instruments there ! I like his attitude too, "if you think I'm wrong, buy something else" . You're never wrong with an opinion, it's yours, it's not wrong just possibly different to someone else's.

Anyone see the furry Chewbacca Wookie one ?

[url="http://www.pinterest.com/marekn01/cool-basses/"]http://www.pinterest.com/marekn01/cool-basses/[/url] Some very cool looking basses, some decidedly odd looking basses .

Wonder why it was painted black ? I've always been quite intrigued about these.

Some of the early Chaka Khan stuff is amazing, featuring Anthony Jackson on bass too. Marcus Miller sessioned on a lot of the late 70's and early 80's stuff, have a listen to Al Jarreau and Luther Vandross.

Are you gonna keep getting it refinished every time it gets bumped ?

Hi guys, Thanks for taking the time to listen and leave feedback, it's much appreciated. My keyboard playing isn't too good, especially when it comes to playing string parts, they always end looking like [size=5]eeeee[/size] [size=6]awwww[/size] [size=4]eeeeee [/size][size=8]awww[/size] [size=1] [/size][size=1]eeeeee .[/size] [size=4]So after I record a section I out of habit set the dynamics to the same level, I then have a blank canvas as it were to add dynamic to as I want.[/size] [size=4] Thanks for the PDF's, I look forward to reading through them .[/size]

Don't forget there are flats and flats . Not all flat wounds are just 'thump', TI's are quite bright sounding and articulate. The D'addario half wounds whilst being a lot more flat than round, have a really nice sound to them. On my TRB, when played high up the neck they sound almost like a classical guitar. John Patitucci uses them.

[quote name='Dad3353' timestamp='1388193056' post='2319443'] Good evening, ambient... I listened to the composition; congratulations on the result so far, even if, as you say, it's 'work in progress'. I hesitate to comment in any depth, even less advance any 'critique'; I'd have to declare my complete ignorance as to the finer (or even coarser..!) points of modern composition, and wouldn't want to lead you astray in your works. I have a few questions for you, though, if you will... Is this your first piece..? Do you have any restrictions or obligations to be taken into account..? How long is the final piece supposed to last..? How much time do you have before completion deadline (...and, if it's next week, why are you messing about on this forum..? ) I'll happily chat by PM if you wish, but with the firm understanding that I'm a first-class heavyweight chump, and should not be relied upon as a guiding beacon. More a spent match, really, now I think about it. Well done for posting, of course; I'm sure you'll get more erudite replies from the experts here. I'll follow progress, if you don't mind... [/quote] Hi man, Thanks for spending the time to listen to it and reply. It's my first stand alone piece, I've done strings for songs before, which is a lot easier because you have something to work to. It's got to be handed in middle of January, but I have so many other things to do as well as this. I spent most of the afternoon and evening working on this and a film score for an orchestra that has to be handed in at the same time. My plan is to leave both now, and come back to them in a couple of days time, hopefully with kind of a fresh perspective on them. I can sometimes hear where the pieces are joined together. The first 40 or so bars were recorded weeks ago, then the next 40 or so today, and I copied and pasted the ending form another section, mainly because I wanted to go back to it. That's kinda why I wanted other musical people to listen to it, to see if it works as one piece.

Why not ? I had my Yamaha TRB strung with D'addario half wounds recently, not exactly flats I know, but more flat than round . I had a great sound from it, different to the same strings on my Mayones. Steve Lawson uses flats on his Modulus fretless.

[url="https://soundcloud.com/ambientbassist/there-will-be-light"]https://soundcloud.com/ambientbassist/there-will-be-light[/url] I have to either write an original piece, or arrange an existing song for a string quartet as part of my uni course. The first 40 bars or so has been done over the last couple of months, I did the next 50 or so this afternoon. I'd be interested to hear what people have to say about it. It's very much a work in progress, I still need to work on dynamics and fiddle (pardon the pun ) around with bits. I also have to write about it and do a score in Sibelius.

Musician that plays bass.

I have a book that my uncle gave me, Jazz riffs for bass by Rick Laird, great book .

I can't say I've ever had a problem with the low B on any bass, must just have been lucky. I'd never personally go above a 125 for a B string, you'd have to go higher too with the other strings otherwise it'd feel unbalanced and I've found you lose the sound, and get more feel of the low B. You may also have problems with the nut slot, if it's cut for a smaller gauge.

It's all music, doesn't matter what you play it on, the instrument is just a tool. I write and record a lot using just a midi controller keyboard into logic x, what comes out is just kind of just a rough shape which then I'll spend ages tidying up and messing with it until it resembles what I envisaged in my mind.

I'm told add uni to play Lydian over major, it avoids any clash and adds a nice bit of colour.