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TKenrick

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About TKenrick

  • Birthday 28/07/1986

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    Egham, Surrey

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  1. This is great, thank you for sharing! I transcribed this a while ago and always struggle to play the damn thing cleanly at tempo so these are a huge help. (if you have access to any other stems from Off The Wall for bass or any other instrument I'd be very keen to hear them...)
  2. Samson C Control, lightly used with some scratches on the top, otherwise vgc. Haven't used it in years and couldn't find the original supply so have replaced with a new 18V adaptor. Full details and specs here: Samson C Control (Control Room Matrix) Ebay price seems to be around the £70, I'm asking £50 posted. Samson S-Mix, good condition. Very useful for getting lots of inputs into one amp - I used it for teaching in schools as it meant I could run two basses and backing tracks through the same amp. Has 2x jack input, xlr input and 2 track phono input. Comes with euro power supply £20 posted.
  3. I really struggle once it gets to two or more notes in spite of having worked on the one note exercises on and off for years. Legend has is that Mike Stern (probably Banacos' most famous long-term student) could do 10 notes; there's a story about him at a Miles Davis rehearsal when Marcus Miller was playing 10-note cluster voicings at the piano and Stern was naming all the pitches by ear... Miles promptly took away all his charts!
  4. Part of the problem is that the session 'scene' as it was in the golden era of the 70s/80s has all but died out, many studios have closed and it's possible to make a decent(ish) quality recording from home and/or program in the bass part using plugins. Not that is always the case, but it's definitely a factor in why we're not seeing a similar wave of younger studio players coming through.
  5. As @Doddy and others have said, that's a good thing; you can't get around the bass properly with only one left hand fingering system. Not wanting to dismiss advice that others have given, but I feel the need to pipe up... I used to waste hours playing through left hand permutation exercises as a warm up and they didn't really get me anywhere; I made it most of the way through the Bass Fitness book and thought that meant that I could really play. The problem with the 1234 finger exercises and variations thereof are that they aren't remotely musical, so why waste time playing patterns that don't ever come up in music that you're trying to learn? Practice technique by playing music; if you struggle with a bass part, make that bass part your exercise. Work out the best left hand fingering and play the part really slowly (at least 50% of your goal speed, if not slower), focusing on making every note as clear as possible. Speed doesn't come from picking a random combination of fingers and cranking the metronome up until you start to develop tendonitis. Speed comes from accuracy and efficiency, which get programmed into your fingers by lots of repetitions at very slow tempos.
  6. 4x4gb bought from crucial.com, pretty sure this is the max RAM for this era of iMac.
  7. I'm having a clear out and realise that I can't justify a laptop and a desktop, so this is up for sale: Mid-2010 iMac 21.5 inch 3.06 GHz Intel Core i3 processor running OS Sierra 10.12.6 (hard drive has been wiped and had a fresh install of Sierra) I've had this upgraded to 16GB 1333 MHz DDR3 RAM and replaced the original hard drive with Samsung 850 EVO 500 GB SSD Brand new third party wireless keyboard and mouse as the originals weren't fit for sale. VGC overall with some scratches around the connection ports at the rear. Honesty policy: It's been running Logic X and other software without any problems but is somewhat slow when rendering 4K video in Final Cut. Would prefer collection from Egham (TW20 8HA) but can also do a socially distanced deposit within a sensible distance. I still have all the original packaging and can organise a courier at buyer's expense. expense.
  8. My vote for Get Lucky is B Dorian (although I hear the E chord as being a straight major, rather than dominant) rather than B minor. I think of it as being in A, but starting on the ii chord, but on gigs people always seem to call the key as the starting note to avoid confusion. If you try soloing over it, then G# sounds a lot more pleasant than G natural...
  9. One of many things that I've stolen from the great saxophonist Bob Reynolds:
  10. Full confession: I don't really play much fretless, but I do play upright, which suffers from the same problem of not having any frets... The way that I work on intonation is to use a drone; you can use Garageband or similar and find a synth sound that's as close to a plain sine wave as possible. Make a loop of a sustained pitch and make that note your key centre, then work on playing the major scale in that key really slowly (minims/half notes at 40bpm is a good place to begin) and you'll begin to hear when each degree of the scale is in tune relative to the drone. Some notes of the scale (root, 4th, 5th, octave) will be easier to gauge than others. Lather, rinse, repeat. Another key feature of fretless bass is vibrato - I learned a lot by slowing down recordings of Jaco (other fretless players are available) and really honing in on what his vibrato sounds like at 50% speed before bringing the tempo up.
  11. A C chord would have sounded rather odd with the riff. As we're in the key of D major, there wouldn't normally be a C major chord; you might expect to see A major, as that's the only other possible major chord that can be built from the D major scale.
  12. Things become a bit clearer (well, hopefully) if you 'add together' the harmony from the bass and the guitar at each point in the progression: D major with a D in the bass is pretty obvious. G major with D in the bass (the A and B notes fit nicely with the G chord as they're the major 2nd and major 3rd, giving a sort of major pentatonic flavour) = G/D, a G major chord in 2nd inversion. E minor with D in the bass (the A and B work because they're the 4th and 5th of the E minor chord, totally allowable notes to play) = Em/D, and Em7 chord in 3rd inversion. Everything here is still very much inside the home key of D major - the last chord gives some interesting intervals but our ears accept it because of the nice resolution when the progession moves back to D major. This trick of static bass notes under changing chords crops up all over the place, off the top of my head Ozzy Osbourne's 'Crazy Train', Free 'Alright Now', Van Halen 'Ain't Talkin' 'Bout Love' and AC/DC 'Highway To Hell' all contain examples of this.
  13. The Jackson Five Christmas Album is a great source of basslines, here's one of my favourites (I think it's Wilton Felder, but I can't seem to verify it): Transcription here: Jackson Five - 'Up On The House Top'
  14. Personally I'd avoid it for as long as possible 😂 As far as American Boy goes, the prospect of thinking of it in E minor but with a Imaj7 chord makes me very twitchy indeed, interested to hear an explanation!
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