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Everything posted by TKenrick

  1. New video/blog post. We're going on a deep dive into triads, as this is a fundamental area that I find almost all of my students are lacking in: Detailed notation/explanation in the blog post here: https://freebasstranscriptions.com/five-must-know-triad-types/
  2. Guilty! I bought the bass in January 2011 from Bass Direct (I haven't checked the neck pocket for an inscription...). I remember playing another Nordy that didn't feel as good, and I still haven't found any other 5-string with a neck that's anywhere near as comfortable. The bridge pickup became faulty a few years ago, Nordstrand were amazingly helpful; they rewired the pickups and sent me a new set of Big Splits to try for free. Great company to deal with and it's a shame that Carey doesn't seem to be making these basses any more. @NJE Thank you for the kind words, glad to hear that people like the stuff I hurl at the internet!
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  4. A friend is after a bassist for a covers band and I can't commit to it, please find details below and get in touch with Michael if you're interested: We are a female fronted covers band, with two guitarists who share both the rhythm and lead work. We had a drummer and a bass player during the early stages of starting but they have since decided that they cannot commit. However, the three of us have ploughed on with getting our set list and repertoire of songs together by rehearsing to drum and bass backing tracks. Whilst the backing tracks have served their purpose until now, we really want to bring a bass player into our rehearsals and a drummer in around a month or so to complete the line-up and start booking ourselves gigs around London and the home counties. One of our guitarists has the contacts to get great shows and great venues booked and we are excited to get to this stage by the time summer is out. Our songs so far contain all the classics that people expect from a covers band called SpandX (Bon Jovi, GNR, Poison etc) through to modern day pop and rock, albeit with a slightly more rocky and live edge to it to keep the set energised. The whole aim of this is to have fun, make people dance and rock out! We are all really committed and rehearse weekly on Saturdays in Paddington at Westbourne Rehearsal Studios. Below is an insight into some of the songs we have added to our repertoire: · Love Runs Out – OneRepublic · Stop & Stare – OneRepublic · Livin On A Prayer – Bon Jovi · You Give Love A Bad Name – Bon Jovi · Nothin But A Good Time – Poison · Since You Been Gone – Kelly Clarkson · The Middle – Jimmy Eat World · Lifestyles Of The Rich & Famous – Good Charlotte · Sweet Child – GNR · Don’t Stop Believin – Journey · Misery Business – Paramore · Edge Of Glory – Lady Gaga · Physical – Dua Lipa There are more to list, but we can discuss this with anyone who is keen to explore the opportunity with us. If you are interested, you must have your own gear that can be used to gig – modelling unit/amp etc. Both guitarists use professional level amp modellers that go direct to the PA to keep the sound consistent. We also would appreciate someone that can bring their flair to the setlist and contribute to the arrangement of our covers as well as tracks to add. If you are interested, please contact Michael on 07714385122 to discuss things further.
  5. I forgot there's a studio version - I actually meant this live one from 'Flood'. For me this is the most joyous expression of funk bass that I've ever heard:
  6. For me it's all about making sure that my fretting hand thumb isn't in contact with the back of the neck, as this limits the range of movement you get - I feel like it's a whole arm thing rather than a case of wiggling the fingers. I learned a lot from slowing down Paul Jackson's part on 'Hang Up Your Hangups'. When you hear a shake at full speed it sounds like there's lots of pitch variation, almost like a trill, but slowing down PJ made me realise that most of the time there are very few slides between the two pitches. I'll see if I can find some audio to back this up...
  7. I'd suggest exactly as you've done to start out with; sure, it's boring, but it's necessary to get used to the movement. As far as other specific exercises for rest strokes I can't think of any, other than using snippets of bass lines and getting the student to film their right hand as they play so they can see what they actually do compared to what they think they're doing... Another tactic that might be worthwhile is getting your student to realise that we don't really pluck the string, it's more of a pushing motion; in a decent rest stroke there's a split second of 'pressing' your finger into the string before releasing it and sounding the note. If your student has access to a DAW, then recording themselves and seeing uneven waveforms where they're tickling the strings might help - sometimes it's useful to have a visual perspective on things.
  8. I was at ACM a long time ago (13 years since I graduated 😮), but I wouldn't imagine that too much had changed... The academic and musical requirements weren't very high (compared to other music colleges or university music courses) and there definitely wasn't much jazz floating about; it's very much a rock and pop school. There was also a huge range of abilities within my degree class. Try to relax and enjoy it - as others have said, they want you as a student and the audition is just a hoop to jump through. A word of warning; I couldn't read music when I arrived and it was a very rude awakening - this is something that I'd start working on ASAP if you're still a TAB-only player. When you get there, make a point of finding the tutor whose playing/teaching is most to your liking and book as many 1-on-1 tutorials with them as possible; these will be worth more than the entire degree course in terms of getting you ready to be a working musician.
  9. At the risk of being self-serving, try the exercises in the video below. Playing along with a metronome is one thing, but using a click won't automatically give you good time; you need to make yourself more responsible for keeping time by gradually reducing the amount of help the meronome gives you.
  10. This was on my to do list but you beat me to it (and saved me the effort!). Those instrumental albums on Spotify are pure gold, so many bassy delights.
  11. It's been slow going for the past year or so, but I'm finally getting some new charts out and correcting mistakes in the old ones... New transcription features Aston Barrett playing some great notes, even the 'wrong' ones: Chart here: Bob Marley & The Wailers - 'Is This Love'
  12. I'm tempted to start buying up youtube ads so this statement gets displayed before every bass video. Fine, we play a symmetrically-tuned instrument, so we have an certain visual advantage over other instruments when it comes to learning a pattern and then transposing it to other keys, but the majority of players never spend the time working out what the shapes actually represent and why they work. There's also the tendency to think (and play) as if the scale/mode/arpeggio starts and ends where the box does. Modes are, in my humble opinion, one of the most frequent causes of confusion because they're often badly taught and introduced to students at the wrong point in their development. If someone hasn't done their homework on intervals and basic triads before moving on to 7th chord harmony then odds are they won't have a clue about #11s and natural 13s.
  13. Not wanting to open up a can of worms, but I would query this - I'm sure that's the narrative that Pino maintains in interviews, but I'm pretty certain that he took some lessons with Joe Hubbard back in the day.
  14. 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...)
  15. 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.
  16. 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!
  17. 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.
  18. 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.
  19. 4x4gb bought from crucial.com, pretty sure this is the max RAM for this era of iMac.
  20. 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.
  21. 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...
  22. One of many things that I've stolen from the great saxophonist Bob Reynolds:
  23. 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.
  24. 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.
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