ambient

I read 2 days ago that their websites now been taken down. They stopped building early part of the year. Just search on talkbass and you'll see.

[quote name='icastle' timestamp='1383418093' post='2264329'] Yeah mine's pretty quiet as well. I bought a Fishman for mine and it's made a real difference. [/quote] Thanks, I may try one .

I bought an NS NXT5 string EUB a while ago. I've only really used it for recording up to now, but have a few live things coming up soon. It seems to have rather a low output. I used to have an EA Micro 550 head, and it seemed fine through one channel on that, my new amp though, I'm having to really increase the gain. Should I be using an external preamp ? Maybe something like the Fishman Platinum, that'd be useful I guess for EQ'ing it too.

But for something to be perfect, which is highly subjective anyway, you have t realise that you may be wrong.

[quote name='MB1' timestamp='1383395175' post='2263987'] MB1. "Total Dicks???" I can imagine they can't stop kicking each other every time they get a bank statement! ...What a pair eh? [/quote] It was their attitudes, maybe it's just me, what has record sales got to do with how they came across anyway ? A lot of 'stars' are very full of themselves.

[quote name='bubinga5' timestamp='1383393729' post='2263966'] why did you think they were dicks? just interested. [/quote] It was their attitudes to the musicians they worked with. The list of session players on tracks (not necessarily the album, cos a lot of players recorded tracks that didn't get used) was like a 'who's who' of world class session musicians. There was an interview with Chuck Rainey who played a slapped line which they didn't want him to do, but he did it anyway, it seems they didn't realise it was slapped at the time, but they had told him no when he'd suggested it'd be cool. It must have worked otherwise they'd have had him do it again, but in the interview when the slap bit was brought up they said they didn't like it, but if that'd been the case then they wouldn't have kept it, their attitude to that really annoyed me. They didn't want to admit that they'd been wrong about someone's contribution to their recording. I think it was just their attitude that they wanted it a certain way, and anything else was rubbish. It must have cost a fortune in session fees, I couldn't work out why they'd record a guitar solo (they went through something like 9 different guitarists on one solo), and then the following day record the same thing with someone else. Could they not communicate exactly what they wanted or didn't want with Someone who wouldn't have gotten the call to record for them in the first place if he couldn't have done what they wanted.

Maybe you just need to give the new playing style time, use a metronome and build up your speed gradually. Just check all your notes are consistent and smooth.

[quote name='GonzoBass' timestamp='1382982903' post='2258791'] I could suggest that after you've learned the changes, go back and learn the head. Yes, it's in treble clef but fortunately neither of these songs are a very difficult read. People are often surprised to hear the bass playing the melody. Plus in an audition situation, it shows that you can read both clefs, actually took the time to absorb ALL the information on the page and learn the ENTIRE tune, not just fake/improv your way through the changes, leaving the rest up to "the other guy". You may not want to play the melody as written the whole way through for your solo, because you're suppose to be expressing your own ideas at the time but it's nice to quote significant phrases and it will give you melodic/harmonic ideas to build on. (Hint: Throw your own licks in where there are whole notes during the melody) I once read a quote from Ron Carter that said something like, "If someone walks into the club in the middle of your solo, they should still be able to identify what song you're playing." Just my 2 pesos... Some additional help here to get you started- [url="http://www.activebass.com/l23859--Autumn-Leaves"]http://www.activebas...--Autumn-Leaves[/url] [url="http://www.activebass.com/l18646--Blue-Bossa"]http://www.activebas...646--Blue-Bossa[/url] [/quote] I'd use the head/melody as the basis of the solo, then develop the theme.

That's the problem with buying stuff off eBay without seeing it in the flesh. You seem to have done ok though, and like you say, you knew from the price it wasn't genuine, but a lot of people think they're getting a bargain when they're actually being ripped off. The real Marcus Miller V is a USA built bass, and top quality, I've got one and even used I paid over 10 times what you've paid.

[quote name='ML94' timestamp='1380737543' post='2229841'] Would you guys say its cheating if I do use a 'blanket' scale but on chords such as the F7, D7 and Amin7b5 outline them so there some difference in the solo. For me, once I use the main key scale, I kind of get bored of that sound =/ [/quote] What someone does in a solo is very subjective, you may like it but the guy who played might not. Play something that you like, Jaco used to compose his solo's, so just take your time and come up with something that you think covers all aspects ie outlining the harmony but interesting at the same time. Don't get too complicated with it, remember it is an audition, I get really nervous in that kind of situation, so for me it'd be harmonically interesting but playable too.

Nooooooooo waaaaaaaaaay would I pay. At the very least I'd expect expenses, and then only if they were close friends.

Practice the bits you're having problems with using a metronome, start slowly making sure you're hitting the right notes, and get the timing right, then gradually increase the tempo. Use a metronome and listen carefully to how you're playing it. Like your choose of football team by the way .

I have a chart for this if you want it ? You may find it a good idea to learn a section at a time, and get that so you're able to play along with the track, then move to the next section. Learn the intro, then the verse etc.