Bilbo

I approached Steve about writing his biography. Someone else was already doing it so I lucked out but his email was lovely. A true gentleman. I have been a fan for years and some of my favourite bass solos are his.

Interesting that I was the only one that focussed on the Escher at the expense of Reynolds rather than the other way around. Probably says something about my headspace.

Remember these bright young things (get the hair!!)? http://www.youtube.com/watch?v=hhtSbptacb0

Still Life Talking is, for me, THE career highlight in a career chock full of highlights. Not a note out of place.

[quote name='AL-the-Bassman' timestamp='1390403458' post='2345023'] but the idea of the comp was to take inspiration from both the picture could have just been a texan in a hat..... [/quote] True but I tried to work on a country and western variant and got bored with it so thought 'Fcuk Burt Reynolds' and did what I wanted to. I don't care if I get any votes, just glad to get back on the horse.

I find him smug and unconvincing in every role he plays, like one of those guys who is the only person in the room that finds his own jokes funny. I cannot name a single film he is in that I didn't hate. So I ignore them.

Sounds older than he looks!! Reminds me of Suzannne Vega in tone (hope that doesn't embarass him!!).

Agree that the budgets are massively important but, as I had Sib. first, it was not a consideration.

I tried it and hated it. I find Sibelius much more user friendly. I wanted something I could use on a netbook (Sibelius would have overwhelmed it) so tried Musescore but everything took so long to do by comparison, I deleted it. Never actually completed anything on it!!

Love that everyobne loves him but I was never a fan. Loved the sound (bought the bass), just never got on with the music.

My rationale this month was the climbing figures going up and down simultaneously; this formed the cello/viola figure that underpins the violins. The rest is just a pretty little tune. With reference to Burt Reynolds, I did what I always do when I see him associated with anything. I ignored him. https://soundcloud.com/robert-palmer-1/up-the-downs

I think it is important to note that a six string bass, whilst having 50% more strings, has only about 10 more notes than a conventional bass. Bearing in mind they are at the extremes of the instrument, it is not surprising that the core of the instrument remains the notes on the conventional bass. Six-strings remain a specialist instrument rather than a must-have. I got rid of my 5s and 6s years ago as they were just wall art. Not much time for chordal playing on the bass. Just never liked the sound that much.

Got something. Will upload to soundcloud later!!

Sounds like a flamenco strum of a single note to me.

Nope. You make them up on the spot. You get yourself ready by educating yourself about chords and scales and by developing your ear etc but, fundamentally, it is about hitting the motherlode on the day. Most of use us achieve that about twice a year. The best guys about 4 times Have had a listen and it is a great performance, Bill (nice phrasing and a nice sound). One question (nothing to do with the video). You call it a transcription in the title of the thread. Have you actually transcribed it as in written it down? If not, I would call it a rendition not a transcription. Either way, good work.

http://m.youtube.com/index?&desktop_uri=%2F

It is about balance, surely. I can get off on a very straight bass line on the occasional tune but, all night? No chance. Some of it is personality; I just cannot do the straight eighths thing all night and stay interested in the gig. I could do it for one gig or a couple maybe but, after that, I would loose my enthusiasm for the music being played and, eventually, walk away. Yes, of course it is about the song but, if all of the songs 'require' that kind of bass line, I am going to quickly come to dislike the lack of contrast in the songs as much as I do the lack of interest in the basslines !!!

Last night, I found another mp3 I hadn't listened to since the gig (months ago). That was also better than I remember. I guess, as a player, you are hearing what it isn't whereas, as a listener, you are just hearing what it is. I get the difference between analysis and creativity but, when you are playing, you have to analyse your sound etc, surely, in order to ensure it is the best it can be? Maybe we should have soundchecked a bit longer (always difficult in an open bar). I think it was the sound more than anything. I hold the view that the swing is in the sound as much as anything and, if that isn't right..... Anyway, I get to do it all again this Sunday. With Art Themen.

I think there is a lot to be said for trying different fingerings etc. For years, I struggled with the main bass riff on Tubular Bells (the one behind the developing list of instruments). I could play it but is felt clunky. I saw Oldfield playing it on a documentary recently and realised my problem wasn't the line, it was my fingering choice. I picked up a bass and could play it immediately, without the hiccups. Some fingering patterns just flow better on some lines.

Love it.

Not at all. The drummer is the best I know and I love playing with him.

In order to learn diffiult passages, I play them again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again and again.

I did a gig last night with some great players, really top drawer, and, to my ears, it wasn't swinging at all. Nothing I did would make it work for me and I hated the gig. The audience was happy, the other musicians were up-beat but, for me, it was a bummer. I listened back to a recording I made of the gig (1st set) this morning and its fine; not the best gig ever or anything but the basics are certainly all there and it swings just fine. What was that all about?

Played with a monstrously good vibes player last night; Lewis Wright from the band Emprical. Also in the gig was Kevin Flanagan, probably the best tenor player in Eastern region (he is from the US/Boston) and Russ Morgan who has played with everyone in the UK and is, himself, more than exceptional. Three great, great players. And I played like a tit. Actually, listening back to my Zoom recording of the gig, it wasn't as bad as I thought, but, on the night, I wasn't feeling it at all. My sound was crap, I couldn't get the level right, nothing I did with the amp or the pre-amp seemed to improve anything etc etc.

Where to did you play them? I would love to try a six.