Mikey D

The riff is actually a part played forward and a section attached to it which the tape had been reversed as said in teh above mentioned clasic albums program. It was put in supposedly because it was Bakhiti's birthday. However, I don't believe its the same forward section reversed, as the notes/rhythms are different. Apart from the great playing from Bakhiti (and it being fretless with minimal vibrato), I suppose the only thing that makes the sound is the EQ'ing and compression. What a bass sound though.

With my bass case on my back: Friend of a friend, to my friend: Does he snowboard? Friend: (Looks at his mate like an idiot) It's a bass! Friend of a friend, to my friend: (Obviously feeling like an idiot) Yeah of course it is...but he looks like he snowboards! Does he? And another time when walking out of a gig about midday: Very drunk man: excuse me, can you come over here. Me: (Walks over) Very very drunk man: Can I ask you something? Me: Yes V.v.Drunk man: That thing on your back!? Me: Yes V.v.v Drunk man: Is it a giant spoon!? Me: (Walks off)

I have a [url="http://basschat.co.uk/index.php?showtopic=22400"]Spector Rebop 5[/url] in the for sale section...I can't comment on the neck thrus, but his is a great bass. As I said the only reason I am selling is that it doesn't really get used as I play fretless mainly and I am moving so a lot of my things are getting sold.

Spirocore reds seem to be the ones normally recommended (by both of my teachers), as they are sort of a 'standard'. When I started out i hated the action on the basses at college. So much I didn't really practice, I actually couldn't, as the blistering was too much. People say this is the norm and you have to build up slowly, which is fair enough, but it wasn't until I got my own bass with an action I felt comfortable with (fairly low, but i have an adjustable bridge if I want to take it up) with spirocore weichs (lights) that I realised how it should feel to be actually able to play the beast. I absolutely love playing now, and can easily do many hours in a row without any fatigue or strain. The sound is loud enough and full enough as it is, so I don't see myself raising it much, even though other players have commented that it is almost too easy to play! Which I don't see as a bad thing. If you are still having a lesson with Tyrone, you should be able to try his bass with the innovation strings on as he changed to them a few months ago. Very light feel, but quite fat strings, so the action needs to be a bit higher as they need quite a bit of room to vibrate. You're more than welcome to try my bass with an adjustable bridge and weichs if you are in central brum anytime, as £100 for strings plus adj. bridge, setup etc is not a cheap thing (although I can recommend a very good guy in worcester, Tyrone has the guy Rod's number aswell) and it would be good to try a few different sets before committing.

[quote name='mcgraham' post='242548' date='Jul 18 2008, 11:34 AM']Fair enough! I actually find it's now easier to use all combinations of fingers after getting this technique down. It's really important to ingrain one set sequence and not err from that in practicing. Ironically enough the BEST way (I've found) to nail this technique is to run scales. Why? You're using 4 fingers but with 3 notes per string. This way you go through the sequence on each string starting on a different finger. It's great! Mark[/quote] Agreed. I practice it using 3 different scale forms. Standard box type position (2 octave), 3 notes per string (2 octave) and 4 notes per string (3 octave, of course with two lots of 3 at the end of the run). I also practice all my arpeggios and inversions with this technique. I can't watch the actual video as my audio has broken on my computer, but I'm sure its great Mike. I will watch it when I can.

[quote name='inyabass' post='239597' date='Jul 14 2008, 10:38 PM']Let's face it. In the music biz, there is a huge divide between the top artists/bands and the rest. I have a mate who plays bass with a named artist. He makes £1500 for practicing and £3000-£4000 for doing a gig. Compare that to semi-pros who make £100 a gig or less sometimes. Live music at that level will always mostly be a labour of love and it's something that you just have to live with I'm afraid.[/quote] Does he ever need a dep!?

Forgot about Ryan Trebilcock aswell. Also graduated quite a few years ago and teaches some classes at Birmingham conservatoire. Good bassist. [url="http://www.musicteachers.co.uk/teacher/b463ecb66b5cf986464b"]Ryan Trebilcock[/url] Of course, all the guys I've mentioned are predominantly upright Jazzers, but you may wish to get a lesson with Mark as he also plays ridiculous electric bass so can give you some pointers on that if needed.

Monster Trumpet player, bassist and jazzer: [url="http://www.musicteachers.co.uk/teacher/766dee5eec1f0e92dbd2"]Percy Pursglove[/url] He's also a very knowledgable, great teacher with very good technique. Also you have Arnie Somogyi and Mark Hodgson come and teach in the conservatoire, not sure how free they would be to do one-2-ones wiht someone who is not studying but you can only ask.

Just to clarify, I'm not talking about originals vs covers. I'm also not saying people shouldn't play, my main point was about putting a value on what you do. I feel some people under value it and as such people who book it feel obliged to get it for that amount all the time, or ideally even cheaper. Maybe I came across as a bit negative in my original post, but was really quite annoyed (not a mood I am in that often). As stated, you don't have to go out for an amount you don't feel is worth it. Other aspects of the gig may outweight the actually cash amount being offered. Maybe I should have phrased my question.point differently, but some good comments have come up on this thread.

YES Gene Perez! He' also my friend on myspace, maybe he will be yours aswell! [url="http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=60340960"]Gene[/url] I think has been talked about on here when the site was first started. He had a write up in Bass Player quite a few years ago. I also practice along and over this sort of music just trying out grooves or soloing as it is normally a static chord. Johnathon was great when I saw him with Groove Collective a few years ago.

[quote name='OldGit' post='238798' date='Jul 13 2008, 10:22 PM']I was replying to the OP who is in a totally different place.[/quote] Am I? Where am I? arrrgh, I'm back in Milton Keynes! Also some good points brought up in here, the whole covers vs originals was bound to come up at some point. I have obviously done my fair share of gigs as favours, for a burger, for stupid money considering distance etc but recently I've just been thinking why sell yourself short. As said, I'm not going to go out for less than I think I should, if I get the gigs great, if I don't, nobodys time is wasted. I feel that I have a value for what i bring to the music, thats why we put all the graft into be as "good" as we can be. Maybe as I said earlier the other bands/musicians etc put their value lower for whatever reasons, but in general, I'm not sure its good overall. Although as it has been said, the work (at what level you want to play/pay) is out there if you want to get it. And of course, I won't be playig at the establishment that made me type the original post.

The sheet music is for the tune/head/melody. The highlighted notes are the guidetones. I think it is good you can chose the clef to read and also the ability to remove the bass part from the audio.

I know, but its not my sky so I feel bad changing their settings...although from now on i may take guerilla action and turn it off on every tv with sky i come into contact with!

[quote name='ironside1966' post='237961' date='Jul 12 2008, 02:47 PM']We also have to pay tax out of out earnings, most semi pros don’t.[/quote] Do we!? Only joking, but I do wonder how many do claim the income. Both pros and semi-pros.

I forgot, two of my favourites! Citta Violeta - Ennio Morricone Deathwish - herbie Hancock

To go along with my Sky music rant, I have one more that relates to music...playing it live to be precise. "Semi-professionals" who seriously undermine and devalue live music by playing gigs (I'm predominantly talking function type gigs or background music etc, not originals) for £20-£30 each as of course they can afford to do this as they are well paid in their careers. I did a gig the other week and the bar manager says he can get a 6 piece for the money we did as a trio (£150) £50 each for 1h 30 mins straight through, which should have been two 45 min sets (never mind the cost of getting to and from the gig) and they are ""much better". Well, everyone I played with knows that isn't true, they aren't "much better" because they can't really play very well, but yes they have amazing gear, but this is about it when it comes to their set. It's hard enough making it as a working musician, but to be expected to do a gig for £15 and a meal is a joke to be honest. Does this bother anyone else? Are you somebody that does this? Is it actually just bar managers that are idiots!? Generally interested in peoples opinions from both sides of the fence.

It's f*****g awful!!!! I actually get really irritated when its the one with the slap bass or the old one with the "jazz" guitar. Both have awful feel and sound like they were played by a novice. The "jazz" guitar one...god knows what they were thinking when they were playing that line! I have put off commenting about this as it really shouldn't bother me, but it really does. Anyone else know what I'm talking about!?

Excellent soundtrack!, but sorry, mine beats yours! [url="http://www.moviegrooves.com/shop/pelham123.htm"]The Taking of Pelham 123[/url] Possibly the filthiest groove ever for a main title. Yes David Shire! Also, check out [url="http://www.blaxploitation.com"]www.blaxploitation.com[/url] [quote name='nick' post='237447' date='Jul 11 2008, 04:53 PM']Excellent call. I'll raise you with 'Dirty Harry' Lalo Schifrin. Loads of good tracks, & some nice fuzzy bass. Seem to recall Chuck Rainey was bass player on the soundtrack(?) [url="http://www.youtube.com/watch?v=xPbHl6hStvk&feature=related"]http://www.youtube.com/watch?v=xPbHl6hStvk...feature=related[/url][/quote]

Also, he has a lot of playalongs you can download for free to practice with: [url="http://learningresources.berklee.edu/public/pfd/"]Hal Crook Playalongs[/url]

This is probably one of the best books on improvisation I have read. Personally I love academic approaches to improvisation! It gives you a structured way of working through material and sounds that you want in your playing, rather than just playing and hoping something good comes out. His comping book is also excellent. Actually, all his books are.

That is a nice case, and fully waterproof which is nice. I've wanted an incase for ages, but can't afford it at the moment. Ideally I want to find the case i have again (its a levys shaped a bit like an incase, not shaped aroudn the body and neck of the bass), its a levys canvas that has lasted me ages! But they stopped making it!

Taxi Driver Fifth Element The Spook Who Sat By The Door Coffy and generally anything by Quincy!

[quote name='mcgraham' post='236595' date='Jul 10 2008, 03:11 PM']Anyone care to share theirs?[/quote] For starters: 1)Having the right eq (Lots of treble) and round wound strings, you can mimic a scratch DJ by rubbing your right hand over the strings. I first saw Julian Crampton do something similar about 10 years ago. 2)Playing over the fretboard with the left hand. Something Marcus did/does to get peoples attention.