oakforest5961

If you're interested in playing along to The Beatles' "Please Please Me" album, this web page is really useful: https://andrewmessner.net/2019/04/17/please-please-me-album-pitch-analysis Only one of the songs on the album has the recording at concert pitch (A = 440Hz). All of the others are flat in comparison, and by differing amounts. That web page lists what the writer reckons are the A reference values for each song. If you have a tuner that can be recalibrated for a different reference value for A, then you just set the tuner to the value given on the web page for the song, tune your bass as normal using the tuner, then play along - it'll sound in tune. I've had a Korg CA-30 tuner for I forget how many years. I remember thinking when I got it that the ability to recalibrate it to A not being 440Hz was something that I would never need to use, but I have been proved wrong - it was really useful to quickly retune my bass and get playing.

This Bass Backing Tracks playlist by Quist has some good material. Look in the description of each video to get the chord progression (if it isn't already part of the video itself). https://www.youtube.com/playlist?list=PLVVk2nQ5iO8-S3OCCKcDJ9aokW_Ec3i2f

Thanks; I've subscribed. Looks like your channel will give a different take on things compared to most; I'm sure that I'll learn something.

My H-850 ear cushions have done the same, post the warranty period. I'm not a heavy user of them either. The headphones sound good, and that's what really counts, but I won't be buying new cushions from the distributors because I reckon that they will just split and peel too. I had the same problem with my Sony MDR-7506 headphones, which are also not budget headphones.

It's been 9 months since Alain M. posted anything on YouTube, until yesterday that is: Brilliant reggae bass tone as always from him.

Reggae's influence is somewhat different from reggae's evolution (which I don't have the experience to analyse). This one is somewhere in an outer orbit of planet reggae. For something a little different, only spend the next 4m 20s of your life listening to this if you are open to a reggae influenced modern rendering of a medieval melody, with latin lyrics, something resembling a slap bass solo (what!), and some spooky whispering thrown in too... This is Adaro with "Mariam Matrem (Radio Edit)":

Not exactly what I had in mind... but impressive how a little goes a long way!

Folk and rock music have been shown to fuse very well together, so why not folk and reggae? Edward II gave it a go, but somehow they never seemed very consistent, so they generally leave me somewhat disappointed. Nevertheless, here's one of their pieces that I do like, 'Swing Easy'. On SoundCloud On Spotify Anybody know of any other folk-reggae bands?

In the mid to late '70s punk and reggae became the most unlikely bedfellows. I don't think that any reggae groups covered any punk songs... but there were some notable reggae covers by punk groups. Here is one of them.

Here's a song with English lyrics from a Greek band. The tune is excellent, and although I generally prefer instrumentals, the singer's voice just nails it for me.

I love reggae music, but really for the music itself. I'm quite happy for it to leave jah and ratafari out because I just can't connect to that. Hence my preference for instrumental reggae, and also for reggae or heavily reggae influenced music from around the world which tends to have different natured lyrics (even if I can't understand them). Here's one from Turkey with Turkish and English lyrics; gets going at about 0:40. Reggae enough for this thread?

Here's something a bit unusual. Well, I think it is because I have found it difficult to find... contemporary instrumental reggae. I say "contemporary" because I know there was stuff back in the day, but the recordings seem a bit muffled, and I don't find them very satisfying because of that. Also, the more modern stuff that I have found 'do it' more for me. I started a Spotify list for myself and went looking (ok, listening) for material to add to it. Being instrumental was not enough to get on it, I also had to like it of course. After lots of searching, I only have nine tracks on it! Am I too choosy, or is it that there just isn't much to choose from? Here is a link to my list https://open.spotify.com/playlist/6tPKi3RjabfMRbG9urIThG?si=yucIcrxlRhuJeogVn3SAEA. If you don't want to check it out direcly, here is the listing of my playlist: Sr. K. by Antidoping Mandela (Dub Version) by Antidoping [be patient, what comes after the 52 second introduction is well worth the wait] Bird on a Fence (Professor Skank remix) by One Drop Forward Lovers Dub by Nigel Williams High Horse Riddim by Dejavu Lifestyle Music Limited Dub in the Bushes by Reblesteppa Reward Rythym by M. Johnson Joyful Dub by Avatar Shackles & Chains Instrumental by Ziggi Recado Recommendations most welcome. Steve

My favourite Rotosound endorsee is Billy Sheehan. His very individual approach to bass playing sets him apart. But more than that, he has 'his sound'. His tricontinental collaboration of player, bass guitar and strings are what underlie that sound. He is very discerning in his choice of equipment; every link in the chain has to be right. For him to play Rotosound strings on recordings and live around the world, you know that they are reliable strings. Further, you can tell straightaway that his choice of gauges for the BS66 set was made with research and care to be spot on. A player of Billy's calibre and artistic vision has to have the right tools to achieve that vision; there's no doubt that he has done that with the help of Rotosound bass strings.

I'd like to give a shout for a couple of great YouTube bassists from non-English speaking countries. The first is Edson Baretto, https://www.youtube.com/channel/UCsaBBwwJfnpfraPual1qtBw. He presents the basslines of popular songs. His approach is to present, without any spoken words, each section/riff/groove in a song separately. (Thus the entire piece is not played in one one go.) The music is presented in notation and tab as he plays each section. Also, if you can understand spoken French, then Bruno Tauzin presents excellent videos, https://www.youtube.com/channel/UCZD0Ba4PzNeYlRzAoha-5iw. He does bassline covers, his own groove tutorials, the odd gear review and solo pieces of his own. (Oh, and another thumbs up for Constantine Isslamow from me; I've been a subscriber of his for many years.)

There are some high quality backing tracks for bass at https://quistorama.com/bass-jam-tracks. The tracks are on YouTube where you will also find the chord progressions - click on the INFO link of each track at quistorama to find the YouTube link. In fact, two of the ten tracks on the 'Groove Time' album are free to download (you just have to sign up to Quist's email list). The files are in .wav format. I think that the 'Groove Time' album is excellent value at $9.99. I bought it.

I haven't seen this mentioned, so thought that I would share it for those who might be interested but didn't known about it. Stuart Clayton is doing a "Bass Lick of the Week" series for a year on his YouTube channel. He's about half way through the series now. The licks are usually 4 bars long which he plays twice through, with music in notation and tab showing, at the start of the video. He then takes you gently through the lick one bar at a time in a nice, clear manner with no jokes or rambling. The licks are in different styles, some played with fingers, some with a plectrum; if you are not keen on one, just try the next. I would say that they are generally intermediate to advanced level. If you are into grooves/licks then you'll probably appreciate this series. Here's a link to the first of the series: https://www.youtube.com/watch?v=3MBspU7_Ot4. I have no affiliation to Stuart or Bassline Publishing. I just think that this series is first rate and that Stuart is a class player and teacher. Credit where credit's due.

Fairly early in Bruce Thomas's book "Rough Notes" he talks of the group Clouds. Looking them up on YouTube I found a drummer-bass player collaboration that I had never heard of before; see the section from about 2:20. [media]http://www.youtube.com/watch?v=K4qoZEBbAIE[/media] After a bit more ferreting around on YouTube, I discovered that the piece, "Big Noise from Winnetka", is quite old and that the drummer played the strings of an upright in the original. Still interesting to see it done with an electric though. No doubt there are a few other examples, but in my many years of playing it's the first time I've seen it done, so thought I'd share it.

Not exactly security marking, but a good alternative (and free): I have a photo, serial number, and scanned image of receipt, of all of my bass gear on [url="https://www.immobilise.com"]www.immobilise.com[/url].

I recently bought some Elixir strings, but the thought struck me that as I pull the string through the somewhat sharp-edged hole in the metal bridge, it's going to strip off a string-length's worth of nanoweb coating... So I rolled up a small piece of paper and put some sellotape round it to give it a little strength and stability, then put this in the bridge hole first whilst stringing up. It was a little fiddly, but it worked. I was wondering if anybody has any other such methods of stringing up Elixirs without damaging the coating.

This is a difficult one since either one already has the kit, or what one wants is too expensive for a present. Consumables like strings are the obvious choice, but here are a few other ideas. At the higher end of the scale: Phil Jones Bass H-850 headphones - I'm happy with mine. A sort of gadget, and not more than an ornament to finger players: a pick punch - like a hole punch but for a plectrum. Mine has not had much use, and I can't see it getting much use. Bass player autobiographies - these can be interesting whether or not you liked the band: "The Living Years" by Mike Rutherford - very good "Unknown Pleasures - Inside Joy Division" by Peter Hook - very good "My Bass and Other Animals" by Guy Pratt - not for me "In the Pleasure Groove" by John Taylor - ok "Snakes! Guillotines! Electric Chairs! My Adventures in the Alice Cooper Group" by Dennis Dunaway - I'm reading this just now, and is good so far Actually, the best rock musician autobiography I have read was not by a bass player: "Face the Music" by Paul Stanley. Hope this helps.

I could never get the built-in mute to work, it always muted the different strings to different amounts. This, and all the other deficiencies of the bridge led me to replace it with the Hipshot one, which was a good move. (The saddles have screws which allow them to be moved a little sideways so that you can change your string spacing; once these screws are tightened the saddles shouldn't move - mine didn't, so no saddle wobble for me.) Alternatively, you could buy a 4004 model which has a sensible bridge as standard - palm muting a doddle. It doesn't have the full McCartney look, so may not be acceptable from that point of view.

The original set of tabs by John Roskruge is on the Way Back Machine, as Daz says, but you will also find them here: [url="http://ks3095025.kimsufi.com/stranglers/index.html"]http://ks3095025.kim...lers/index.html[/url]

Bonjour Barbasque! Weight (without battery): 1.160 kg Dimensions: 20.3 / 14.5 / 6.8 cm I don't know of any other reviews, nor of any sound clips. One has to wonder at Ashdown's lack of publishing the specifications of this pedal.

Title: [b]The Lost Art of Country Bass[/b] Subtitle: An Inside Look at Country Bass for Electric and Upright Players Author: [b]Keith Rosier[/b] (with an acute accent on the e in his surname) Publisher: Hal-Leonard Series: Bass Builders ISBN: 978-0-7935-6992-2 Year: 1997 Format: paperback Number of pages that matter: 51 CD included: Yes Format of the written music: notation and tab Level: Beginner and Intermediate Cost: in March 2014 it was selling on amazon.co.uk for £12.45. Does any piece of the written music require you to turn a page over: Yes, one piece. I own a copy of the book and have worked through it. The Introduction says, "The Lost Art of Country Bass allows bass players to develop a feel for country bass playing. Bass lines are presented in the style of the famous bassists who helped develop this art form." Well, he is correct in that you will develop a feel, though no more than that, and maybe he is famous in the country bass world (I don't know) but two or three of the style pieces appear to be by Rosier himself. The general pattern of the first useful two thirds of this book is sections titled "The Style of <artist's name>", where there are a few paragraphs about the artist followed by one or more bass lines in the style of songs by the said artist. I say "artist" rather than "bassist" because some of the artists are not bassists at all. To be specific, these sections, with the number of bass lines in each, are:[list] [*]The Style of Allen Williams (3) [*]The Style of Lefty Frizzell (3) [*]The Style of Ray Price (4) [*]The Style of Cedric Rainwater (1) [*]The Style of Bob Moore (5) [*]The Style of Glenn Worf (2) [*]The Style of Heather Myles (2) [*]The Style of Rick Shea (1) [*]The Style of Leland Sklar (1) [/list] The other useful third of this book focuses on music style rather than bassist style. A (very) few words are said about each style, followed by a bass line in that style. The styles are:[list] [*]Ballad [*]Waltz [*]Walking Waltz [*]Rockin' Country [*]Ten-Step [*]Latin Bass [*]Country Rock [*]Walk-Up and Walk-Down [/list] Every bass line in the book is, with band, on the included CD. An Essential Listening list is given. Rosier has some clear opinions: "Playing scales, reading music, and playing grooves with a metronome are the key ingredients of a bassist's daily practice schedule. [...] If you find yourself just 'noodling' around on your bass and not interested in playing your best, I recommend you put your bass away until you feel inspired to play some serious bass." (I have to ask why this paragraph was given a whole page to itself; I only omitted two sentences from it here!) There are also some plugs, which rather jarred with me, and are now somewhat dated in their feel: <artist's name>'s albums are available from <name and address of a record shop>! There are 10 pages about gear. Why is this material using up valuable space in such a rarity as a book about country bass? One is working through the book: 'The Style of So And So', 'The Style of Such And Such', and then suddenly 'Know Your Bass' with info on how to set up your bass! Such material belongs in another book, and there are plenty such books already. Thus, unfortunately, this book has unnecessary 'padding', which is why I reckon that only 51 of the 80 pages matter. I think it's there because Rosier has his own opinion to express and he's taking the chance to do so; it's based on his own experience, so one could say it has value, but I feel that the book would have benefitted by replacing all of the padding with analysis of the bass lines: Rosier is very wordy about gear and practicing, and very terse (sometimes saying nothing at all) about the details of the bass line structure and note choice. The included CD:[list] [*]33 tracks to play along to [*]the longest track is 3 minutes 8 seconds; the shortest is 30 seconds [*]the music is real instruments played by real musicians [*]the bass is more on the left channel, so can be 'turned down' [*]the tracks DO NOT have any count in, which is annoying [/list] I'll probably go to Country hell for this, but it was nice to play along to country tunes where there were no vocals. Of course, you can read other reviews of this book on amazon.co.uk and amazon.com. There is a thread on talkbass.com with a lot of praise for this book ([url="http://www.talkbass.com/forum/f179/country-bass-walk-438411"]http://www.talkbass....ass-walk-438411[/url]). I don't think that this book teaches you country bass; it is just a bunch of examples of the style, the rest is up to you. If you are good enough to learn by example alone, then great, but I think this book is a missed opportunity. Nevertheless, if you are in any way interested in bass for American country music then you won't be wasting your time getting hold of this book.

I only play with a plectrum. After trying loads of different thicknesses and materials I ended up preferring 1.8mm flexible leather. This thread is making it fairly clear - there's no one-size-fits-all when it comes to plectrums.