lowdown

This video popped up on my Facebook feed today. Actually, Rick Beato originally posted it on YouTube last year sometime. It's a little seven-minute story regarding a '52 Fender P Bass. For those that have not seen it, it's maybe worth a look.

Same for me really... Although, back in the 80's, for me, it was mainly the Bass Centre in Wapping. Apart from buying nearly all my gear from there (lots of it - especially strings), I found it to be a good socialising place. Well, that and the pub around the corner that we all used to visit. I lived just the other side of the river near Tower Bridge, so it was an easy walk for me.

It didn't for me at first. But it is what it is and like you said, it was a freebie. I had another go this morning and I found it visually ok when adjusting the actual clip gain on any audio file before diving in on any fader:

I have a few Hornet plugins so I thought I would check out 'Autogain Pro'. Yes, it looks interesting. At today's exchange rate and the sale they have on at the moment, I got it for £3.80!

Funny enough, I grabbed the Oxford Inflator and Oxford Limiter today over at Plugin Boutique in their (ongoing) sale. With my virtual cash I had available, I paid just over £30 for both. GainStage Pro was thrown in for free, but I'm not sure if it's any good. I will give it a spin though.

This was a long time ago, but then, my struggle when leaning the craft was not the pitched notes, but the rhythms (or the maths behind it). The book(s) were when the 'penny dropped' moment. So yes, hugely valuable.

Back in the day my double bass teacher got me into that book along with the other one you mentioned, 'Odd Time Reading Text'. I believe they were both updated in the 80's sometime. Both are excellent and a must in my opinion. Use the rhythms and apply to any scale, mode or motif you want to work on.

'Pianobook' has had a colourful facelift, and a few new libraries uploaded: Pianobook – a global collective of sound enthusiasts

👍 I've just finished watching the whole concert and it's pretty impressive!

Dave Weckl and Tom Kennedy...

If you like Latin flavouring in your music, this Tony Succar concert is worth a listen. The musicianship, vocals and particularly the arranging (all cover versions), really is top draw all round:

By the sound of it, the stoned people were not capable of pressing the recording device. I reckon the house cat walked across the recording device looking for Cat Nip. If there is a video of that - It would go viral on TikTok.

Yep, I agree... I found his phrasing is more lyrical. I've now started hunting for more of his fretless playing. Please post up anything you think might be worth a listen, HZ, because I haven't really heard much of his Fretless work.

I didn't want to start yet another HF thread so I will use this thread. A couple of tracks with Hadrien using Jaco's Bass of Doom:

Also during that period, he played on a couple of tracks from the album, 'Transition'. A Collaboration album between Buddy Rich & Lionel Hampton' Both tracks feature a Bass solo, and the credits list two Bassists, the other being 'Bob Cranshaw'. I found this on a 'ChatGPT' search, but it's anyone's guess who is playing what. There also seems to be a Phaser FX on the solos. Personnel Details: Both Anthony Jackson and Bob Cranshaw are credited as bassists specifically on the tracks “E.G.” and “Fum”, and George Duvivier plays bass on the rest of the album en.wikipedia.org. The two tracks in question—E.G. (composed by Mike Abene) and Fum (credited to Jack Wilkens/Wilkins)—each feature both Jackson and Cranshaw sharing bass duties, including bass solos en.wikipedia.org. So the bass solos on “E.G.” and “Fum” were performed by Anthony Jackson and Bob Cranshaw, not George Duvivier. If you’d like more information about their individual playing styles, other performances, or how they collaborated on these tracks, I’m happy to help! Solo starts at 6:44. Solo starts at 5:55.

This live track, 'Howie's Tune', didn't make it onto the album.

Often overlooked, but he managed two years in the Buddy Rich small band (Septet) between 1973 and 1975. The link below is the remastered full album, 'Very Live at Buddy's Place':

I thought the English loved noise? ** “The English may not like music, but they absolutely love the noise it makes”. Sir Thomas Beecham

Marcus and Dave Weckl on the same gig. Something that doesn't happen that often.

Mike Stern band with the wonderful Jeff Andrews on Bass:

Ozzy and Rick Wakeman were good buddies:

He did come out with some classic lines... Ozzy, "We started off as a Rock band messing with drugs, but we ended up as a drug band messing with rock".

What about the trill in the iconic melody of 'The Good, The Bad and The Ugly'? It's all part of the eerie mood of that theme. Especially in that opening motif.

One Cannon, that's not overplaying in the 1812. Below is an example of overplaying in the 1812: 1812 Overture: "In the sections that contain cannon shots, actual cannons are sometimes replaced by howitzers, tanks, fireworks, recorded cannons, a piece of staging, usually hit with large wooden mallets or sledgehammers as used in Mahler's 6th Symphony. Bass drums, and gongs/tam-tams are also regularly used as cannon substitutes or adjuncts in indoor performances!"

He certainly plays well. I believe he studied at The Royal Northern College of Music in the early 70's.