dodge_bass

Pm’d

7 hours ago, Nickthebass said:

@dodge_bass - anything you can help with?

Howard - Bass Doc. PM me if you need his deets. 

I’ve got a transcription somewhere - drop me a PM

4 hours ago, Quatschmacher said:

No one has mention the Noble preamp, which Shaun Hurley describes as a B15 in a box. Though they are spendy at $1100. 

https://nobleamps.com/preamps/
 

I believe our residents @dodge_bass and @andybassdoyle use these, perhaps they can chime in. 

Yes the Nobel is ace for sure but given its costs (it’s crept up a fair bit since I got mine) I didn’t mention it. I absolutely love it and it works great for the type of stuff I record (funk / soul / rare groove). 

On 05/06/2021 at 12:10, fretmeister said:

I run HPF last. I don’t see the point in putting it before a compressor that will try and boost the stuff that I’m trying to cut.

Might be personal preference that - I run my HPF BEFORE the compressor so I'm not pushing the comp more then it needs to be pushed. Works for me as I'm sure yours works for you.

@bob_atherton try both ways and see what happens to your sound and which you prefer would be my advice. 

Pm'd

On 28/05/2021 at 11:51, Doddy said:

I often hear the point of "I've never done a gig/ I've only done a handful of reading gigs ever", and that is totally cool. But, a big part of that is that if you don't put yourself out as a reader you won't get calls to do gigs that require it, and there are a lot more reading gigs than those mentioned in the video.

I also don't agree with the insinuation that readers can only read and can't come up with lines. In fact, I'd go the opposite way and say that all the best improvisers who I know either personally or via fame and reputation, are generally solid readers too.

It’s a really interesting topic. As a player / teacher / educator I’ve never known anyone who didn’t benefit from learning to read. Not just reading the actual dots on a gig but all the musical skills that come with it (understanding rhythms / time sigs / harmony / stylistic approaches etc). And I’ve never known anyone feel hard done by when working on their ability to play by ear. Developing both these skills to a high level is hard but really important and the division / dichotomy between them is false. They’re not in opposition but complimentary, it’s just that they’re not often taught (or developed) in conjunction with eachother.

I read really well. It’s opened so many doors for me as a player. But I’ve also worked on developing my ear because that also really helps as well with transcription and with creating original music. I also make all my pupils learn to read whether they intend to do reading gigs or not because it strengthens their general musicianship no end....and you never know when it might come in handy! My work as a player has moved from original work (no reading) to lots of reading work (theatre / orchestral / function gigs) now back into lots of original music with little reading....careers change and develop and having both skills is never going to be an impediment o your playing.  @ped makes a great point about big band charts where you might be expected to read notated figures, improvise bass lines on the spot and read / ignore written parts in favour of creating something yourself. Essentially using all these skills side by side. 

5 hours ago, Sarah5string said:

Yea that's my take on it. Doesn't mean I'm not bricking it though 🤣

What have they asked for in your audition? Have they told you what they’re going to cover? As an HE/FE lecturer with 15years experience when we interview potential students we would listen to their pieces, ask them some theory questions, give them some sight reading excerpts to read (incl rhythm clapping and notated pieces) and some aural tests. There would also be a general discussion about a learners future plans. Hopefully giving a good overview of the learners strengths and weaknesses before we make a decision.

If they’ve not told you that would be the first question to ask of them. 

3 minutes ago, SteveXFR said:

Thanks. If it takes years then that's what it takes.  At the moment I spend the first 15 minutes playing a simple riff to a metronome (Iron Man this evening) and then bash out some fun tunes for half an hour then half an hour to an hour working on whatever song I'm learning. 

I’d take the first 10 mins doing just rhythms on one note and then add the riff in. 

You’ll need to do some regular daily  practice with a metronome and a rhythm book (we used Bellson’s 4/4 book at music college but there are loads). Recording yourself is a bonus as well if you can manage that too. Improving your rhythmic accuracy and awareness is going to take time (months and years rather than days / weeks) so you’ll need to settle in for the long haul. I’d also suggest that you focus purely on rhythm initially (I.e playing rhythms just one one note) - by breaking it down into just focusing on the rhythms / timing you can add the notes in later and it will all come together much quicker. Good luck you’ll not regret it!

First bar of the first chorus of Soul Man Duck Dunn carries the verse riff over (works harmonically so he gets away with it).

In Son of a Preacher Man second bar of the middle section (D7) Tommy Cogbill gets briefly ‘jazz’ with a D7/A, followed by D7/Eb before finally finding the D7 at the end of the bar. The bass is so buried in the mix it’s not that audible but it’s there. 

7 hours ago, eude said:

Hey there, did this sell?
If not, colour me interested!

Eude

Sorry it went a while back. Have edited post. 

11 hours ago, jrixn1 said:

Some MP3 codecs pad the start of the track by a number of milliseconds.  This means if you play along to MP3s, you won't realize at your end that there is an issue; but to the producer, your bass tracks will be slightly out of sync.  WAV won't have this problem.

 

Interesting never had this issue before in the last decade but super useful to know - will insist on WAVs from now on. Thanks for the heads up.  

3 hours ago, Dad3353 said:

Ask to receive rendered WAV files, then, and send back your tracks in the same way. 

Yup. Or if its just tracks to play along too Mp3s is also fine. You just need to make sure you render out your take as a WAV or whatever format they want. 

Having a tempo marking / click is really useful for tracking and I've found it very helpful to include a bit of click at the start of the bass take to allow the producer to quickly and easily line it up. But you'll figure all these things out. Reaper is a brilliant DAW - I"ve been using it for professional remote work for years now. Good luck with it all. 

7 hours ago, Cuzzie said:

I don’t disagree with this on the audio spikes, but it’s worthwhile remembering that compression is not there to just tame spikes etc. It can be used to appropriately change the punch/presence/sustain/timbre of the notes as well as make it more present in a mix

Of course, agreed and thanks for pointing that out as of course compression does more than just tame spikes. I guess for me that's the main thing I use it for, gently taming any errant notes / variation across the finger board rather than massively altering the other aspects of the sound hence my focus on that.

On 11/05/2021 at 14:30, wateroftyne said:

Thank you 🙂

I've never used an outboard compressor in my little signal chain. So if I'm down the Dog'n'Duck without PA support, it is what it is, and people seem to like it.

If there's a PA, it'll undoubtedly get compressed and that's fine. 

Gernerally speaking I'll DI from my amp, but at bigger gigs I'll go Bass > DI box > amp, so if something breaks, it ain't my fault 😄

Worth pointing out that p bass and flats and a good technique is likely to provide a fairly even signal anyway - kind of natural compression I guess. I’m always astonished when recording with that setup how even and with few spikes the audio file records. So compression really may not be necessary. 

These are great! Plus I'm commenting cos I love the Outer Hebrides and would love to move out there. Is there much of a scene out there (sorry for the thread derail). 

3 hours ago, Skybone said:

Another recommendation for a dedicated recorder, like the Zoom mentioned, but there are others out there.

I have a Tascam DR-05, which does the same thing, records onto a micro SD card, so easily transferred onto a computer and shared to the rest of the band.

Plus one for the Tascams - I have one which is at least 10 years old but great to just plonk down in the middle of the rehearsal room and leave recording for the whole session. Seems to pick up bass really well too which is an added bonus! 

4 hours ago, ChrisDev said:

Those are groups of three 16ths. 4x3 = 12 = 3 beats

Yup. Really common rhythm at the moment in dance tracks.

On 10/07/2020 at 20:06, cb1 said:

I've been grateful for the transcriptions posted on here and elsewhere during lockdown, so I thought

it was only reasonable to reciprocate.

I heard this track recently and was inspired to do a transcription. The  track is 'The Blood,The Blood by Joshua's Troop.

The bass player Bryan 'B Dub' White and I'm assuming he is covering his own playing.

Good Luck with it, it moves at quite a lick!

 

The Blood, The Blood - Bass Guitar.pdf 68.69 kB · 10 downloads

Looks great at a glance — all I can say is that adding the chord symbols in to show harmony makes a big difference to any transcription. Thanks for sharing. 

14 minutes ago, peteb said:

A quick search shows the guy with the red P (Fernando Rosa) tends to more usually play fingerstyle, on a variety of old Fender basses and is a very nice player.

In fact, his bass playing is very nearly as impressive as his beard...! 🙂 

Yes he keeps cropping up on my Instagram feed. He beats, hands down, both my bass playing and beard wearing! 

4 minutes ago, Ricky Rioli said:

The instrument they're on - very definitely not a P bass - needed flats to give the sound some depth - only once they were on did it sound like a bass. What I really need is to be shot of that instrument 🙄 Live and learn.

 

 

 

 

Agreed - there's always something to learn isn't there. Nice to see a fellow Yorkie too, though I no longer reside there any more. 

On 17/04/2021 at 08:17, Happy Jack said:

I bought it from Mark at https://gollihurmusic.com/

you can get them in the UK though:

https://www.andertons.co.uk/acoustic-dept/acoustic-guitar-amps/audiosprockets-tonedexter-acoustic-guitar-preamp

33 minutes ago, Ricky Rioli said:

Shame I've got a £60 custom set of Chromes on one of my two basses 😐

Chromes are lovely. I've got them on all 3 of my P basses and they sound great new or really old. But if you want that sound you'll need rounds. No reason. you can't swap them out for a bit and keep the chromes - flats never really 'go off; so. you could put back on when ready. 

3 hours ago, Ricky Rioli said:

Do you think that all the differences I'm hearing are simply to do with strings / player, with the instruments themselves being otherwise much of a muchness? (I wondered if the pickups might have noticeably different characters?)

For what it's worth, I like both to listen to, but its the second sound (the one coming out of the P with the lighter fretboard) that I would like to be making

Round wound strings it is then.