itu

@chris_b: I did some work while scanning a heap of notes the other day. Well, few days. I found many scores I did not even remember... @Muppet: At the moment the Mobile Sheets Pro seems to be pretty functional and simple enough. Especially for the cost. The pedal I have is a 4-button Dragonfly, but the 2-button Firefly would be thinner to carry.

I bought a 10" tablet and a software to keep my notes in one place. I carry it everywhere with the bass and the page turning device. Now I have a library of few thousand scores in the unit. This helps a lot, when some old song comes along. I do not see, that the song has to be exact every time, but to convince the audience, the song has to be close enough. That tab is really helpful. Carrying books and papers was a chore.

Usually there is no possibility to divide time like one song / month. Just play everything a little every day, and all songs will go to your head and hands with time. Some faster and some slower. My brain is able to do some parallel processing, although as a true bassist, it tends to take quite some time... The big issue I have, is to play something that I have played years ago. Basic jazz standards are easy to remember, but not so easy to play after some pause. Night in Tunisia or Street life without any help from scores and I will play myself to the outer space of fifths. @frannie01's comment of transcribing is also very important to me in the learning process.

Play it again, Sam. Long answer: After a week or two the song starts to stick to your head, and then to your hands. It just takes time and active training. 5 minutes a day is far better than 1 hour once a week.

If you change the country of residence, the price may be different because of different VAT.

There are necks that do not have truss rod at all, like earlier graphite necks. Vigier has wood necks with carbon stripes, but not truss rod. Rickenbacker has wooden neck-through-body and two truss rods. The constructions vary, but the effect to the sound stays unclear. Main idea is, after all, to produce a stabile and playable neck.

Do you have an issue with chords, as the header says in A flat and still the first chord is C? (I will get my coat...) Looks good. Ritardando is usually written "rit.". There is usually no need to put those tempos everywhere, use "a tempo" for getting back to original speed.

Stan the Man with his hair and Alembic (1st solo), John Illsley with his red unlined Wal...

Several basses. I do not own multi-scale, I am so old that I will not learn to play such a monster any more. A 5-string took around 6 months to understand and this was very long ago. Vigier Passion II is the shortest, fretted Modulus has 35", and my custom fretless 36". My next instrument is possibly a 35 - 36" fretless 5. Strings are D'Addario EFX220, or EPS220-5. GHS Super steels (long scale +) are a functional option.

My basses (33.8 - 36") have suffered most, as well as benefitted most from string choices. Fretless: SS RW. Fretted: SS RW. Especially the low B was a PIA. I tried lots of strings to get the sound that I want. .005 makes a difference, believe me. Scale length is only my personal (physical) preference, and although I do like longer scale, the acoustic sound is now very similar from bass to bass.

A real multiscale is a 274 cm Steinway or a 90 key Bösendorfer. The difference is mostly about your preference and how playable the bass is. How about other details like the string spacing?

Take a short discussion with your neighbours and make a deal, that noise is OK from 12oo to 14oo, or whatever. When everybody knows this, there should be no word about it later on. This also drives you to do short, well thought (?) steps, one at a time. Talk about rhythm.

I do admit that @cb1 has clearer score. As this song is in 4/4, the beat should not be sacrificed (yes, I remember my dotted eights...), and has to be 4 beats written to each bar. You have to think that the bar has to have as many sets of notes and rests as the time signature tells. One important point is that we do not have to use the shortest element of the bar. Otherwise we might end up in a situation of 1/16 notes and rests filling the score. But it may be a good way to think that way: how to put them together, so that they form beats. It does not look so good in the first phase, when there are arcs and notes look like the are divided to unnecessary parts. But the more you read and play, you see that beat behind everything.

There was a similar discussion some time ago, so search might help a bit.

Guitar strings are far shorter. Please stay with bass strings. The piccolo tensions are followed with a .45 set. G (20) - 41.8 lbs / (45) - 42.8 lbs D (32) - 49 lbs / (65) - 51.3 lbs A (42) - 46.7 lbs / (85) - 48.4 lbs E (52) - 41.7 lbs / (105) - 40.3 lbs Total 179.2 lbs / 182.8 lbs The difference of 3.6 lbs is really small, isn't it?

http://www.daddario.com/upload/tension_chart_13934.pdf

I do have one, but my use is certainly 'quack'.

As price seems to be the first issue, I will not suggest a Status. But if the quality was...

Xero is an envelope filter, we discuss about eq stuff.

Very good discussion, the community shows its power again. I do admit that some of my choices were slightly odd. After listening to the song and reviewing the score, there are funnies, yes. Dotted notes were notationally (nearly) correct, but playing would have been, umm, "classical". My bad. The reason for many rests in the beginning is doublefold: the software plays longer set of rest bars right (and I am only not able to make such a short and tidy notation), although that looks complex without chords etc. When I do a bass score and something is happening without bass, I try to include details (lyrics, chords, melody lines...) to help following the reading. 8 bars here may seem crowded, but as I said earlier, this score is not overly complex. Usually this type of song is learned quickly and then the paper is just an extra support. It is true, that the legibility is another thing. As I use a tablet for my notes nowadays, and not paper anymore, this would drive the notation to three pages. No repeats, no segnos... and a bluetooth page turning device, which is really helpful. Thanks for your comments!

Status has 18 mm in 5-string basses. Ibanez BTB, broadneck Warwicks, and Modulus Quantum 5W have 19 - 21.5 mm etc.

Dear @stewblack, Let me put it this way: You have done the raw work of transcribing the song. I did some slight changes to legibility, now it is time to listen to @TKenrick et al. to get their thoughts about the score in detail. Kind regards.

This is my take of the same score. No, I did not listen to the track. It could have changed the layout somewhat (with those double bar lines etc.). This was just a 10 minute re-mapping of few notes and so on. Good base, have to say. As the honorable sir @TKenrick said, the 2/4/8 works usually very well. Here the start is looking a bit funny with long pauses, and some harder rhythmic figures, but then I changed the layout mostly to 8 bars. The line is not too hard to read, so 8 is still legible. Probably some changes would appear if I listened the song. Bars 43 and 44 were a bit odd to read, so I changed the first 16th and pause to a staccato 8th. Maybe not exact, but easier to perceive. In 44 the rests and notes were different, I divided all rests and notes to a steady 8th pulse. From 73 there were two quarter rests that I changed to a half. The half takes half of the bar, so again a bit easier to perceive. All in all, the basic work was very good. These tweaks were tiny after all. The "chorus" texts started to wander around: choose the first note of the chorus, go to the TEXT and there is that boxed B1 or Swing. You'll get the part text that you can change by clicking that B1 or Swing, whichever you choose to use. These texts then move with the bars and layout. Last but not least is the lowest left box of the software. It includes those bar and page changes, that help you to make the layout neat and according to your preference. Sometimes 2/4/8/16 bars is fine, but there are so many places where 3/9/something is the only reasonable choice. As there were so many bars, I divided them almost evenly to two pages for legibility. Again: the content here is approximately the same, but layout may help you a bit to read it on a gig, if the "chorus' first bar is always in the same column" on the paper. It_Must_Be_Love.mscz It_Must_Be_Love.pdf

He had a three string MM, factory built. His studio burned. Bass Player had an extensive article about him years back. Motorcycling and nappies included. Funk fingers.

Mine has serial 43 (like the Level 42 song), there are not too many of them, yet. Buy yours thru Reverb.com.