ambient

I think I have a transcription somewhere, it's standard notation though, but let me know if it's any good and I can email it to you or something.

I find it very hard to believe that Coldplay could even come into the top 100, let alone make it to number 1. Coldplay, Keane and Duran Duran as the top 3 just about shows how serious anyone should take this . You read through it thinking yes, yes, yes and then all of a sudden you come across Maroon 5 and then Shania Twain !

[quote name='skidder652003' timestamp='1364835624' post='2031481'] "walking jazz bass lines..any old shi*e played with a straight face." Im sure i read that in a bass magazine once? [/quote] What's the magazine, just so I can avoid buying it . Analyse a walking bass line played by someone like La Faro or Chambers, or any number of amazing players, and you'll see that it isn't [i]any old shi*e played with a straight face [/i][i] .[/i]

I don't have a problem with the bass guitar being used to fulfil any given role, as long as the musician using it is capable then it can be a very expressive instrument. Solo bass guitar, why not ? What's the difference between that and solo trombone ? It's a very versatile instrument, and its capabilities are limited only by the person playing it, oh and by the listener not being a small minded dick who doesn't see the possibilities. Gotta say I don't like the first track, simply cos of the guitar !

[quote name='wombatboter' timestamp='1364733165' post='2030084'] That's the weird thing with Palladino.. in a way he is a very busy player but he does it so well that it doesn't bother. Someone asked me once to learn "New York Minute" on fretless because he wanted to cover it and I learned it note for note. When we played it he told me after one rehearsal "that bass is just too busy, you should play it like on the record". He was surprised when he found out I played the same thing and hadn't added a note. I once asked Pino for advice when people would ask me to play like him in the studio.. he said "Tell them to f*ck off" :-) [/quote] You've just said what I was trying to say in my reply above, but I didn't express myself too well ! You don't realise how much he's playing until you analyse it. Listen to some of the old Paul Young records, the bass was often extremely high in the mix, but it never got in the way of the vocals. Don't forget this was 'pop' music, the vocal was the main thing. Often his playing would compliment the vocal. Just ordered the Jose James album !

I'm actually just listening to his fretless playing with PSP on the live album. Very, very Jaco'ish, but really very,very good. I prefer him to John Entwistle with the Who. I think Entwistle got too far away from how he started. He was very much inspired by the Motown vibe early on, which Pino still retains. I've got a live CD of the Who's Brighton gig in 2006, you can get them from here [url="http://www.themusic.com/encore/thewho2/"]http://www.themusic.com/encore/thewho2/[/url] His playing is just there, it never gets in the way of anything, it's just there !

Surgical spirit removes it too.

Comfortably numb by David Gilmour.

Just bought Graeme's P bass from him. A very nice, honest guy, and a really nice bass. Very patient too, he held the bass for me until my student loan arrived. Thanks !

[quote name='peteb' timestamp='1364344804' post='2025331'] This... To be a good musician you need an ego the size of a small planet to drive you to be as good as you can be, yet you are inevitably led to doubt whether you are as good as you would like to think you are! I'm afraid that insecurity is the natural state for any artist or musician, which is why we get so affected by criticism or indeed praise... [/quote] I totally agree about the insecurity bit, that's probably why I spend most of my waking life either practicing some element of my playing, or revising my theory. The ego bit is a load of twaddle, I most certainly do not have an ego the size of a small planet. I'm a student at music college in London, and I guess the insecurity bit is true of a lot of the guys there, but few have any sort of ego. They and myself just have the desire to be the best and most creative musician that we can be. I actual believe that ego gets in the way of that.

[quote name='phlebas' timestamp='1363995892' post='2020875'] Once I know the key, the notes are scale/chord tones - so in C I don't think of open E as E, but the root of iim and as the fifth of the V chord. Seems more useful to think of it that way since 95% of the tunes I play are completely diatonic. [/quote] I'm sure I've probably just misunderstood what you've said - but in C the II chord is indeed minor, but it's Dm, the V chord is G7 and its 5th is D. Probably due to my lack of confidence and insecurity, but I do know every note I play, and it's relationship to the chord or scale that I'm playing over.

[quote name='Badass' timestamp='1361884515' post='1992373'] The first Fedora @ £49.99 I'll have first dibs on in that case [/quote] Isn't that a type of hat ?

One of the good things about going to college is the contacts that you make whilst there. You need to practice loads, obviously, but also network to make contacts to get you the work.

[quote name='LiamPodmore' timestamp='1362350310' post='1998884'] I'm planning on heading to ICMP to study bass next year, with a friend who's doing songwriting. Whether it will lead to anything, who knows, but if it doesn't, I'm fairly well qualified in IT for my age so I have other less interesting avenues. I know there's a guy on here who went to uni doing bass and plays for Jessie J at the moment. Liam [/quote] That's where I go. I figure it's best to at least try, if a career in music doesn't happen then at least you've tried. Having a degree opens doors for you anyway, teaching etc. Having an open mind and having a portfolio of skills should mean that you do OK.

I'm a student at a music college in London. One thing that we're told is that session work pretty much doesn't exist anymore. To make a living from music you need to have a portfolio approach, session work when it comes up, gigging, teaching, writing and composing, writing in a journalistic way e.g. magazines and online. Playing more than one instrument is a must, we're taught keyboards as well as percussion and vocals. We're also taught music technology and production, as well as arranging, so those are other avenues open to us after we graduate. I'm doing probably about 30 hours a week practicing my bass playing. I also spend about another 5 hours a week on aural practice, doing lots of transcribing and interval practice, and another 20 hours or composing and working on music tech projects arranging and mixing. I also try and do at least 30 minutes to an hour a day practising keyboards.

[quote name='icastle' timestamp='1362262038' post='1997808'] I don't recall seeing the phrase here, but in the climbing world we have a saying - "all the gear and no idea". Latest boots (with the price ticket still on them), latest rucksack, latest waterproof GPS and yards of the latest high performance, multiple layer Goretex. They're usually the ones who end up getting lost or need to be carried off the peak on a stretcher. The purpose of that story is to point out that, no matter how much money you throw at something, if you don't know how to use it, you'll come a cropper. [/quote] Kind of what I said. Too many people seem to blame the gear, or lack of it for the shortcomings in what's happening, or not happening in their playing, not just on this site, but take a look at the for sale section and you'll see what I mean. People change amps and cabs 'cos their slap sound isn't happening, when in fact it's their technique that sucks. I find it amazing to see that people will spend thousands on a new Bergantino rig, but won't spend considerably less on a few lessons that will improve their sound and playing. Then 6 months later, the Bergantino rig is for sale, at a huge loss, cos guess what, it hasn't done what they hoped it would.

[quote name='hamfist' timestamp='1362243917' post='1997504'] No, but it'll probably sound nicer ! [/quote] Why ? A poorly played instrument is just that, be it a badly played beat up Mexican P bass, or a £10, 000 Fodera.

I've seen people play amazingly on budget instruments, and others play crap on expensive instruments. It is the player, not the gear. Maybe that's why guys on here keep changing what they've got, they're searching for something that can't be bought. If you buy an expensive bass, string it with the latest highly fashionable and expensive strings, and play it through a boutique amp and cab that a guy in bass shop tells you, you absolutely must have, but then proceed to play it using your less than good technique (sloppy fretting, uneven picking etc}, then unfortunately you'll still sound crap. Jaco Pastorius was once talking to a fan. The fan kept saying how amazing Jaco's bass was, how amazing it sounded, and how he wished he had one like it. Jaco took his bass off and stood it in the corner, turned to the guy and said "does it still sound amazing now ?" Look at guys like Pino, Tony Levin, Jaco, Guy Pratt, Victor Bailey, Louis Johnson, Bernard Edwards, Marcus Miller, Paul Turner, Julian Crampton and dozens more, they use 'normal' basses on the whole.