cytania

It's a remarkable piece of music. Symphonic yet a real earworm. It's also very sensitive to mixing. The demos and recent remix sound like different compositions.

The backing tracks to some sixties hits were clearly recorded slower in a lowered key and then sped up for the vocal overdubs. This makes the music really jump out. Concrete and Clay by Unit Four sounds like this was done but I've never heard a detailed account of the recording session.

[quote name='DJpullchord' timestamp='1505644588' post='3373283'] Some bloke in the pub was trying to explain how pianos are tuned out of tune with the frequencies. Something to do with how the human ear hears stuff at the top end. Weird. [/quote] https://en.m.wikipedia.org/wiki/Piano_tuning

To get back to Light My Fire by the Doors. This was mismastered back in the 60s and the mistake stuck around until it was corrected for the 40th Anniversary edition of the Doors first album. Other speed/tuning challenged hits include Another One Bites The Dust by Queen and Friday I'm In Love by the Cure.

It gets even worse Yank, we had a Queen in 1900 😅

Norman Watt-Roy did a session for Trevor Horn where he laid down various tasty riffs that Horn sampled. Alot of these made it onto the classic FGTH hits.

Thanks for that Jaywalker, I have had my suspicions about a portion of the band scores for a while but as the new boy I'm not in a position to challenge too much. Already written my own walking line for Fly Me To The Moon so we'll see how that goes down 😀👍

I'm playing bass guitar in the dep seat for a big band and so I've been watching alot of classic double bass performances and working through musical scores. I've noticed the players tend to work alot around the D and G strings up at the top of the bass clef. Is this because? 1) It's easier to reach when playing fast. 2) Those strings cut through better than the E string which doesn't amplify well. 3) It's a jazz thing daddy-o, squares don't get it ;-) 4) Something else?

Years from now you'll discover something and it'll be some of Scott's random sh*t. When you try to learn a song look for simple easy ones and don't go google a bass tab or a play through. Listen to it holding your bass and see if you can guess the notes. Even if you don't you'll know it better when you do learn it from tab and your ear will develop.

What ambient says about visualising double bass soundings and also I like to think of how a tuba sounds. Getting that timbre with your fingers can be improving for many songs.

The fretboard is a thinkspace and as guitar players we visualise patterns and note relationships around it. The keyboard is also a thinkspace with the sharps/flats offset. Wind players don't have this, the covered holes and valves are learnt patterns for each note. I can see why they need musical notation as they aren't looking down at any kind of thinkspace. Will have more to report on dots and blown instruments in a month or so as I start depping with a Big Band soon. I may be the the one sweating over ' four lots of twelve bar then key change up 5' when everyone else is happily following dots 😀 I can read the dots but playing to them live? 😲

Used to love DR Sunbeams, stable after an hour or so. I now use Rotosound blue 66s and they take about 10 days to settle and stay good about 6 months. Half the price of Sunbeams too.

He's only 26 and he's just rocked Glastonbury. Plenty of time for him to get a band, write a symphony or go jazz fusion. The world is his oyster.

In picture 7 you can see a screw hole left behind from the original pickguard. Someone has tried to Fender up a copy with slightly different dimensions. Headstock is anorexic too.

Thanks to Si and everyone for a wonderful afternoon. For four hours I could forget the election, work woes, band woes and lose myself in bass land 😀

Just watching Boabab. Really weird seeing that big guy make little pitzicato runs on his Les Paul. I must have been conditioned to expect big rock chords and screaming solos whenever I see that Gibson shape 😀

Has to be these guys 🐪 https://m.youtube.com/watch?v=vACZA9dGvV4

Thought Beth was superb, much bigger voice than Joplin and adding Careless Whisper to the end of Control was amazing. Great show.

More spade music making here 😀 https://m.youtube.com/watch?v=Zo4C8dEDk7A

His albums often include alot of hard grinding funk that goes on too long and woozy jazzy smooch ballads but every so often there are real gems of pop music hidden in there. His guitar playing often sounds like a busy bee buzz and yet I find it compelling 🎸

Howard Goodall pinpoints the first bassline as being in Stauss's waltzes.

Looks like I can make it this year 😀 Only purchase last year was a DI so I may just bring the old faithful single-cut 🎸

Autumn Leaves in Dm. I am not a natural jazzer 😅

The trouble with backing tracks is they can't hear the singer miss his cue and play an extra bar till he comes in. Live players go with the flow and cover, I was about to say mistakes but it's more than that, if the singers want to throw some shapes or go for a walk in the audience why not? It's part of being a _live_ act.

One simple way to play by ear is run your finger along the E string of your bass as the song plays. You should find a fret that sounds stronger than the rest, this is likely the root note. It's easy to learn music theory as an abstract concept. What you have to work on is incorporating the concept with your playing, so you can find the right note when you recognise the pattern.