TKenrick

[quote name='TheGreek' timestamp='1476528385' post='3154972'] Because she's got a huge discography of work I'm never sure where to start with M'shell's work - any recommendations? [/quote] For me her first two albums (Plantation Lullabies and Peace Beyond Passion) are a good place to start. Incredible groove regardless of how sparse or busy the parts are, and some nice synth playing too. Her time feel on this always knocks me out: [media]http://youtu.be/nVoNlGyPAGw[/media]

[quote name='solo4652' timestamp='1475830633' post='3148997'] And what's wrong with my shirt? [/quote] I should've included this for clarification. Maybe I'd get better gigs if I copied this guy's wardrobe: [attachment=229454:Screen Shot 2016-10-07 at 10.24.09.png] If you happen to have the same shirt then I'd LOVE to know where one buys such a thing.

That shirt, though...

It's a major 7 built on the flattened 7th degree of the major scale soI'd call it 'flat 7 major 7', pretty common non-diatonic chord that crops up frequently in Bowie and other stuff - often is preceded by flat 6 major (Ab major in the key of C) as an alternative turnaround. Bowie's 'Suffragette City' also has a lot of this, in the key of A but has lots of F major and G major. The outro of Queen's 'Crazy Little Thing Called Love' has the same thing, but in the key of D.

Definitely one of my favourite players and (IMHO) one who doesn't nearly enough time in the bass world's spotlight. The fill at 1'10" in this always makes me smile: http://www.youtube.com/watch?v=4-EJYMxW_tI Couldn't find the original on YouTube but 'Everything is Changing' is another superb JM effort with Groove Collective. Love the Maxwell stuff too but the liner notes on 'Urban Hang Suite' don't say which of the 3 bassists on the album played on which tracks

[url="http://www.freebasstranscriptions.com/wp-content/uploads/2016/08/Bruno-Mars-Locked-Out-Of-Heaven.pdf"]http://www.freebasst...t-Of-Heaven.pdf[/url] [url="http://www.freebasstranscriptions.com/wp-content/uploads/2016/08/Cee-Lo-Green-Forget-You-1.pdf"]http://www.freebasst...orget-You-1.pdf[/url] [url="http://www.freebasstranscriptions.com/wp-content/uploads/2016/08/Michael-Jackson-Billie-Jean.pdf"]http://www.freebasst...Billie-Jean.pdf[/url] [url="http://www.freebasstranscriptions.com/2015/06/09/groove-of-the-week-18-bruno-mars-backwards-octaves-and-the-half-slap-groove/"]http://www.freebasst...lf-slap-groove/[/url]

Could you post the set list? I'm sure that lots of BCers will have charts knocking about for most standard function repertoire. As far as other advice goes... Listen to the tunes as much as you can (you can do a lot of mental practice during commuting time or other situations where you have 'dead' time but no bass). Make sure you have a chat about intros and endings of tunes as different bands have different arrangements and it can save a train wreck or two if you can clarify these in advance. The next one will be easier, I promise - there's very little variation in repertoire between most generic pop function bands so you'll pretty quickly develop a decent working repertoire and be at the point where playing 'Valerie' for the third time in a weekend brings you out in a rash.

He did a tour earlier in the year with a live band: [media]http://youtu.be/kX9QE6OBvoY[/media] One of the UK's more underrated bass pioneers IMHO, this used to be a favourite of mine: [media]http://youtu.be/3mjoV2BT1WQ[/media]

[quote name='ambient' timestamp='1472156524' post='3119029'] Not necessarily. Notes, and rhythm are common to all instruments, pianists, trombone, bassoon, tuba, cello, double bassists would all read bass clef. My second year at uni, my reading class lecturer was a pianist. In fact it was a violin teacher taught me to read music. [/quote] Whilst I agree with this in principle I'd lean towards getting guidance from a bass player in the early stages as positions aren't immediately intuitive (well they weren't for me, at least). A second year degree sight reading class is, as I understand it, not the same scenario as the OP is describing so it might be worth 'checking in' with a seasoned reading bassist while this stuff is still new. Fretboard knowledge is a vital aspect of sightreading which also affects the number of positional options that you might have for any given part. FWIW I wholeheartedly endorse studying with non-bassists, as our kind tend to be musically [s]retarded[/s] restricted in many departments (harmony, soloing, ear training, articulation, personal hygiene etc). Back on the subject of reading... I found it helpful to work on pitch and rhythm separately, otherwise it can be like trying to rub your stomach whilst patting your head. There's a good page on [url="http://garywillis.com/pages/lessons/read.html"]Gary Willis' site for pitch reading[/url], and there are a few rhythm reading books about (I used [url="http://www.freebasstranscriptions.com/2014/11/17/unorthodox-instructionals-part-3-getting-even-with-drummers/"]Louis Bellson's 'Modern Reading in 4/4[/url] - not very exciting but very effective).

Here's a warts-and-all video of a live recording of a Wayne Krantz tune called 'Is Something I Don't Understand Yet' I did for a friend's PhD project: [media]http://www.youtube.com/watch?v=jQESzfkgSBw[/media] Gear: Nordstrand VJ5 into Noble Amps DI/Aguilar AG500

I have two contradictory thoughts on things like Yousician: 1. I can say with almost 100% certainty that every single musician that inspires me did not learn by using an app. How is a machine able to teach me something that is a uniquely human endeavour? From what I know of Yousician it seems to be one level up from Guitar Hero - reducing the craft of learning a musical instrument to a dumbed down, 'painting by numbers' approach. 2. If it's the only thing that has inspired your son to pick up the bass then go with it. My 'day gig' is teaching children and the most important thing is to engage them and keep them motivated - this will make playing music and practising an instrument habits that stay with them as they grow up. If the app is a 'way in' to learning the bass then he can always move on to other (IMHO more legitimate) ways of learning later on. I spent a decade learning music the wrong way, but it kept me engaged as a teenager - if my first teacher had forced me to practise a lot of the things that I actually [i]needed[/i] to work on when I was 15 then I probably wouldn't have stuck at it. So... the purist in me screams AVOID! at Yousician or similar [s]games [/s]apps, but my inner teenager says it's not such a bad idea.

Bought a Boss BF-2 from Martin, it arrived quickly, well packaged and the pedal is in amazing condition. Excellent comms and a great guy to deal with.

[quote name='DanOwens' timestamp='1468259424' post='3089668'] What was your favourite and why? There's a few there that I thought were quite dirty and I'm after clean. Can the Sansamp and the Aguilar do clean? [/quote] My favourite is the Noble, because it gives a really quiet, clean signal and engineers and band members always make positive comments about it. I can also take a small solid state head to a gig and run it through the Noble to make it sound like a tube amp without the backache. Apparently it's comparable to the REDDI but I don't have any experience of the latter so can't comment. I always ran my Aguilar completely clean, it does that fine and the ability to switch between two sounds is useful. They're well made and I never had any problems with mine. Might be worth looking into a Radial JDI or ProDI, both of which are used in a lot of venues.

I remember having an issue with the DI on my LMII years ago - opened up the top and one of the cables had come loose, fixed in 30 seconds! It might be worth a look inside to see if there's anything visually suspect going on. As far as plan B goes, I've had good experiences gigging without an amp using the following DIs: Radial Tonebone, Sansamp BDDI, Aguilar Tonehammer and (most recently) the Noble DI.

[quote name='JuliusGroove' timestamp='1467412974' post='3083607'] Well then I'm follow up, how do I get my harmony chops together! [/quote] There are a couple of good books out there, but as someone who is guilty of repeatedly buying books and never doing anything with them I'd strongly recommend getting 1-on-1 lessons with someone local to you. Ask around and find out who gets recommended near Brighton - whilst it's true that you can now have a Skype lesson with pretty much anyone you want I've found that being in the same room produces greater rewards than the virtual thing. If you're willing to travel then London will give you lots of options. [quote name='funkle' timestamp='1467283789' post='3082474'] Tom has given good advice as usual. Keep in mind he's a pro; I'm commenting as an amateur/semi-pro (my day job is in something else, but I have been to music school, can read music, arrange, analyse charts, etc etc. [/quote] Thanks, Pete, but I'm keen to point out that 'being a pro' doesn't really mean much. There are lots of full time musicians who know very little about anything but manage to make a living from playing, and there are absolute monsters who hold down a regular 9-5. Every piece of advice in this thread (and many others) is equally valid and everyone's experience counts regardless of how they make a living.