Faithless

If you're after a defretted (and fret-markered) 5string tuned E-C, that's what I got for ya [url="http://basschat.co.uk/index.php?showtopic=94843"]http://basschat.co.uk/index.php?showtopic=94843[/url] cheap as chips, good for trying fretless out - it's not for everyone tastes.. easy Faith

hmm, I sorted it with Mark, cases should be in next week, I just have to sell my EUB and get the money together Wattabout sending them from US, while they can't ship it using USPS to Lithuania, they could have used other dealer (which is as expensive as case is), but he didn't mentioned import taxes somehow.. Faith

Transcribed 9 choruses of Ray Brown's bassline on "C Jam Blues", from "Night Train" with O. Peterson. The man has some licks Also finished transcribing bassline on Common's - Real People (Live on Lettermann) [url="http://www.youtube.com/watch?v=Oq8hfvl0AjY"]http://www.youtube.com/watch?v=Oq8hfvl0AjY[/url] Started working on Chet Baker's Autumn Leaves. Finished the head, will now be moving on Chet's and P Desmonds solos, and, altogether, working on Ron Carter's bassline on this very take.. Also doing some electric stuff, it's Hubert Eaves' line on Erykah Badu's - On And On (Live 1997) Now I'm asking for some wisdom on working on transcribed walking basslines - well, it's not a solo, and it's difficult to move one around all keys, the best bet for me is to move it to nearest keys from the original.. But somehow, I feel, that this is not enough. How do you internalize transcribed walking line? Mr. Hubbard, do you have any thoughts on this?

"Do any low-end/cheap EUBs sound vaguely like a real DB?" To answer your question - no. Cheapies like Stagg or Palatino don't even have a decent wooden fingerboard - it's some kind of plastic, and those cheapies require a lot of money to [i]make [/i]them sound more-like-a DB.. I was gobsmacked when I recorded my cheapy (150 quid) EUB, made by local luthier, and compared it to Staggs/Palatinos - the sound had much more 'wood' in it, and it's just because of the difference in fingerboards, which was wood against plastic, there was nothing fancy in terms setup/detalis of my EUB.. I'm actually selling it, because I give the DB thing up, but a local chap seems interested in it, so I can't offer it here no more.. Faith

Hmmm, not sure about the shape, but I believe bass plays nice..

Gaf, and how did you get away with no taxes? I mean, we're in EU, and it costs to buy things from America, innit..? I've emailed Miko asking how much would it be to send one to Lithuania, waiting for answer..

I'm after a decent case, and iGig got my attention first.. Now, they don't have their webpage, and I'm struggling to find, where to get them in Europe.. oh, there's one link: [url="http://www.mikobass.com/Shop/iGIG/G515.htm"]http://www.mikobass.com/Shop/iGIG/G515.htm[/url] As I suppose, if you ask one from there, they ship it from US (which is an awful lot of money in taxes..)? any info would be highly appreciated.. easy Faith

Hmm, I'm very tempted in buying an iGig case.. emailed them asking how much would it cost to ship one to Lithuania.. but seeing, that it costs about 170 pounds in UK, I'm not sure about it: [url="http://www.mikobass.com/Shop/iGIG/G515.htm"]http://www.mikobass.com/Shop/iGIG/G515.htm[/url] Here, in their page, they quote 179 USD - is this [i]real [/i]or not?

They're the best strings for me - they last ages (and I don't slap so 'zing' isn't a problem for me) and they feel very smooth, maybe due to the coating or whatever, but I like it - all other brands are simply too rough for me..

Well, the best bet for you would be to learn reading, Josh it's a rocket science. Many people (me included) don't bother writing out stuff in tabs - first of all, tabs doesn't make sense, and, after all, for a chap, who doesn't use tabs, it would be too much time consuming to try write out it in tabs.. all the best Faith

[quote name='Mike' post='934891' date='Aug 24 2010, 05:29 PM']So last night I worked on the DM7 arpeggio and set up a Dm7 vamp and just soloed for 30mins at a time using just those four notes - and my solos were more rhythmically interesting than normal, with much more motivic development. This "containment" style of practice is something I'm going to work on. I briefly then did a Dm7 to Cmaj7 vamp but decided that the Dm7 is not 110% ingrained yet so still going to work that for a few more days.[/quote] Hey, Mike, How is it going with arpeggios? I'm shedding on them each day, now I'm getting used to fluently 'switching' between two looped II V I's, that's Cmaj's and Fmaj's.. The sickest thing for me is to solo using only chord tones - I just can't seem to make it sound more like a solo, not an arpeggio exercise.. BTW, Scott, I checked Adam Rogers, that you told me about - it seems I've 'known' him in past, seeing him with M Garisson and other cats, well, right, he's an ace cat.. You told you studied with him, and if so, did you happen to live in NY maybe?

There's a nice one, that popped under one of my playalongs to Jackson 5's tune.. [i]"this is pretty good, but somehow, there is not enough feel/groove in it... maybe i should also post a video of this bassline, then u can tell me my notes are wrong ;D "[/i] ah, you see, not [i]enough [/i]]feel..

[i]and thus reharmonise the II-V as a V7sus4 chord (since V7sus4 = IIm7/V). [/i] Looks like you're right about it.. Can't tell about scales - the best bet is to shed on looped II-V vamp, and see, what sounds best for you.. For more ideas on II V I check out Janek Gwizdala's podcasts, the man has something to say about that stuff.. [url="http://gwizmon.podbean.com/"]http://gwizmon.podbean.com/[/url]

[quote name='Chris2112' post='965355' date='Sep 23 2010, 12:28 PM']But Jeff just sits there with a 4 string tuned EADG and a touch of chorus and does things that just seem untouchable! Even if you can get inside the phrases and patterns he creates with his hand, how do you even go about looking at his brain and the way he gets those crazy phrases working![/quote] I think that there are a lot[i] much-harder-to-get [/i]players than Jeff, actually.. What he basically does himself (and teaches) is using chord tones and tensions.

Maybe it was deleted? looks like it's the bots that are advertising it..

There was a similar thread to this, advertising the CD, and there were a lot more comments there, but I couldn't find it through search..

I just found a few interesting quotes from Jeff Berlin in his new interview: <Talks about recording "High Standards"> [i]When I was getting ready to record again, less than a year ago, I realized that I couldn’t recall ever hearing of an electric bass-led jazz standards trio record before![/i] Hmm.. Feel free to correct me, but.. Steve Swallow? <talks about touring with his trio> [i] For several years, we toured everywhere and played all the time, mostly in Europe and Asia, but not much here in America. [b]Americans aren’t that interested in jazz.[/b] But the Europeans and the Asians are crazy for it, which is fortunate since most American jazz musicians have to leave the country to play their art. They go to these places to make a living. I always found this ironic, that, the only art form that America ever invented, which is musical in nature, the American artists who continue its legacy can’t find the support to play this music at home.[/i] Now what the heck is that???? Full interview is here; [url="http://www.bassfrontiersmag.com/jeff-berlin-interviewed-by-roy-vogt"]http://www.bassfrontiersmag.com/jeff-berli...wed-by-roy-vogt[/url]

Gosh.. I was trying out that Victor's exercise on swinging, and setting metronome an eight note before the 1st beat.. And I thought I knew how to swing.. My timing is rubbish, goddamnit!! I'll really have to pay more attention to timing..

As a bassplayer, I would stay away from any kind of bass solos, if I want to get the most and beyond my instrument (and that's what I actually do - from the very first day I started transcribing, there isn't a single bass solo I've done) Your best bet is listening to horn/guitar/piano players, take the solos that really catch your ear, and transcribe 'em. Oh, and don't start with Brecker or Meldhau.. Listen to the classical jazz, and learn from masters - Miles Davis, Chet Baker, P Desmond, the list never ends.. Don't take too taxing solos at the beginning - Miles is a good place to start (well, at least, for me it is..) good luck, Faith

I'm not sure if drum machine is better than metronome if you want to work on your [i]time[/i]. Drum machine, as there are many more 'sounds' going from it rather than from metronome, can give you a false sense of security, in terms of time feeling/flow.. Drum machines are cool if you're jamming/looking for ideas, but when it comes to timing practice, I'd go for metronome. And, if you do, don't set that thing on 120, 160,220 or other crazy bmp's!! Start setting it on low bpm's, like 30, or 40, so that you can play 4 notes per one click or something like that.. Yep, it will be harder in the beginning to play with metronome clicking 30pbm, but, believe me, it will benefit in future.. Of course, you can set it on 120 (4x more) rather than 30, and it will feel much more 'safer', but it's not going to get you anywhere. Metronome won't develop time for you, you have to do it yourself, it's only there to guide you. Faith

Well, it was the first one that popped out in Youtube, so I didn't worry about video itself, I'm more worried about music..

Bilbo, don't get angry on me for Autumn Leaves, but it's just too musical.. And the band is just killing it - but what else would you expect from Gadd and Carter.. And that pedal point is nice too! Desmond's has been probably my favourite sax for a while, but this is just sick - that laid back vibe and sound is just what enslaves me.. Definetly the next one I'll be transcribing.. enjoy.