TKenrick

From memory, the mid boost portion of the demo was done at the higher frequency (800Hz, I think...) and I probably would've gone for the full 10dB of boost.

John Paul Jones playing some great, Motown-tinged lines on Led Zep's debut from 1969: Led Zeppelin - 'Good Times, Bad Times' bass transcription PDF

Late to the party, but I finally got round to doing some more Joe Dart: Vulfpeck - 'Back Pocket' bass transcription PDF

This was the winning entry of the site's subscribers' transcription request competition. Eight minutes of Bowie: David Bowie - 'Absolute Beginners' bass transcription PDF

That's made my day. Welcome to the dark side!

As someone who should be trained in writing dots but whose writing is illegible, my default is to write everything out using software. I also find it more practical for storage/editing than having piles of half-used manuscript paper everywhere. My personal preference is Sibelius, but the new membership options are expensive; I've heard good things about Musescore, which I believe is free, and Finale Notepad (if you're running Windows) should be worth a look too. I haven't got experience with either, so others might be able to give more of an insight.

Unfortunately, I don't have the time to do individual transcription requests (not even for money...), but if you're on the email list for the website then I do request competitions a few times each year - the next one starts this weekend.

Back with a power ballad featuring some very silly bass fills: Commodores - 'Easy' bass transcription PDF Everything should be back up and running now - let me know if any links don't work @outtaseezun @Chewie

It's not you at all, as mentioned in my previous post the site is currently out of action after a cyber attack...

The site is still out of action after a cyber attack last week, but here's a bit of gospel bass to get your digits around: Kirk Franklin - Brighter Day.pdf

The whole site being down is an unplanned headache - it appears I got hacked sometime in the last week... Working on having things up and running ASAP!

I took down the Me'shell transcriptions as I felt I could do them better... I'm in the process of editing them, they'll be back on the site soon.

Having tried this on a Mustang, it appears that even on a short scale bass I can't get my wrist straight when playing 1fpf on frets 1-4 without doing some extremely dodgy things with my thumb. It appears that not everyone is built the same way... For me it's not just a matter of hand size - I have a pretty big hand span but still use 124 in order to have minimal tension in the hand and remove harsh angles from the wrist where possible.

In my experience, people are very swift and forthcoming with negative feedback/complaints but much more reluctant to tell you when you're doing the right thing. If that's the first one you've done, then you're off to a strong start - absolutely spot on in terms of camera work/lighting/titles and annotations, very 'current' in terms of production values. The actual content is good, too, I can't fault the idea of getting people to focus on chord tones and think about what they're playing. The only criticism is that some people might want a more thorough breakdown of some of the voicings/licks/concepts used, but the whole point of the video might well be a broad overview of ideas rather than getting bogged down in specifics - those who are less fluent in theory might want to take things at a slower pace.

I try to stay out of these things because debating them over the Internet never seems to work, but here goes... I would like to respectfully disagree with this - I'm relatively fanatical about only using one finger per fret where necessary and using 1-2-4 at all other times. For those who are interested, here are some thoughts on alteratives to one finger per fret (video should start around 13.20):

A live Bruno Mars thing with some very tasty playing from Jamareo Artis, who's clearly been at the Jamerson again: Bruno Mars - 'Just The Way You Are' (live) bass transcription PDF

I've just reread the thread and can't find much mention of using drones (not the flying variety) when working on intonation* - I'm definitely one of those awful 'phony' fretless amateurs who bought one on a whim and gets it out of the case once a year, but I've found that working with a fixed pitch reference has been invaluable in getting my intonation together on upright, so I don't see why it wouldn't translate to fretless *If you've mentioned this and I've missed it then apologies.

A personal favourite, with some surprisingly intricate playing from Colin Greenwood: Radiohead - 'Paranoid Android' bass transcription PDF Confessions of a terrible student (warning: contains mild jazz references) full article/lesson here

Absolutely agreed - I was making several assumptions, based on the fact that the OP mentioned using TAB to learn songs and therefore would be learning from recordings prior to rehearsals or gigs rather than learning music 'on the fly', which is a very different scenario. I also agree with this (and don’t think I implied anything to the contrary in my earlier post). Being able to read doesn’t automatically make you a ‘good’ player, just as being limited to using TAB doesn’t necessarily mean that your playing will be lacking.

These are the burdens of being a bass player; I doubt that there are many players who don't struggle with quickly and accurately isolating busy bass parts. If standard notation is a problem - for whatever reason - and you really want to improve as a musician then kick the TAB habit for good and focus on playing by ear. As someone who spends most of their time reading and writing music, I'd say that being able to hear things is exponentially more valuable than being able to read. Developing good ears is a long and gruelling pursuit, but the benefits are huge.

Odd-time playing that isn't prog rock or technical metal (or Take Five): 3 of Sting's Greatest Odd-Time Grooves

John bought my EBS octabass pedal and was an absolute pleasure to deal with from start to finish. Top lad!