Bilbo

I may have an 'in' (I know the brother of The British Lions' drummer) but can't chase until Thursday. Anyone got a better route?

No brainer.

I have seen five reviews of my book so far. One was five star, one four star, one three star, one two star and one one star. I guess that tells you a lot about reviews

Absolutely but it also allows you to feel good about the bits that work. Incredible tool. I wish I had got one years ago!

Interesting to see how bored the other players look in the second video! SCHOOLBOY PLAYS METAL SHOCKER!!! [url="http://www.youtube.com/watch?v=ecOJblWbGKg"]http://www.youtube.com/watch?v=ecOJblWbGKg[/url]

I did a duo gig with a Brazilian singer guitar player and wasn't actually that comfortable with the sounds we were making. I did, however, record the gig on my new Zoom H1 and, listening back to it this morning, it is surprisingly tight and, in places, grooves like a mofo.

I am probanly going to go down in flames for saying it but are loopers the only means by which ERB players can justify the extended range? Without them, they rarely seem to use anything but the middle bit of the range which they would have had access to on an off the peg 5 string.

Yeah - 'we didn't submit an entry because we split up over musical differences' PS got a Zoom H1 yesterday so this opens up the options for me (i.e. if I can write tune for my trio and get it played within a month, I can record it and submit that way).

GK MB150S - people use them be ause they are light. They sound sh** but at least you can take them on Ryanair as hand luggage. Plus one for Carlsboro Cobra. Carlsboro Cobblers more like...

[quote name='Zenitram' timestamp='1369226736' post='2086542'] An excuse to post this: [url="https://www.youtube.com/watch?v=FF0VaBxb27w"]https://www.youtube....h?v=FF0VaBxb27w[/url] [/quote] There is no excuse to post that....

They're props, guys. This is Basschat, not Fantasy Island

These is hard times for live music....

This is so bad, it's brilliant.... [media]http://www.youtube.com/watch?v=7MoWQSe3txY[/media] This, on the other hand, is just bad. [url="http://www.youtube.com/watch?v=Eo70WEsap1c"]http://www.youtube.com/watch?v=Eo70WEsap1c[/url]

It's because recording the electric is easier; one lead vs mics, pre-amps, leads from the car etc etc. The learning is the same, whatever I play it on.

If you are trying to do research for a biography on anyone who is over 30, EVERYBODY is a great loss.

It's a simple idea: if you don't know what note you are going to play, how can you hit it on the money? I have the same issue myself. Ps:I couldn't do that run on a double bass

Here's my lessthe perfect attempt.... http://snd.sc/10LCp74

Prefer the alt take. The intonation thing sounds like a lack of confidence in what note you are actually intending to play. As if the indecision is manifested in the note itself. Confidence can leave you sounding more centred.

It is is often tempting to put the quavers onto Sibelius etc in order to make it sound more convincing but it is better to use quarter notes and change the performance settings to 'heavy swing'.

Here is some of my feedback from assignment one. Really helpful insights from a stranger somewhere in the world!! [b][i]'[color=#333333]his is an bass solo over full 3 choruses of the tune. The improvised lines are very lively and virtuoso. High level of technical mastery of that instrument, very nice sound and use of vibrato/little glissandi. Even flow of melody. Consistent phrasing (phrases always begin on "1 and" or "2"; this gives an overall feeling of trailing, of passiveness if one wishes to phrase this negatively. I wonder how this improvisation's character would change if you would commence the phrases ahead of the 1 - might turn it into something more riveting and stunning?!). In terms of overall structure/contrast/storytelling, the improvisation is rather homogeneous across the various choruses or across A and B sections. What about some little deliberately placed contrasts (rhythm - register - intervals - etc.)? Overall, I enjoyed this improvisation. I am envious of this soloist inasmuch it appears to me that he is technically and musically in a position of picking up and implementing quickly novel improvisation approaches and tricks!'[/color][/i][/b]

Here you go, guys. My frustration is that, whatever the merits on my composition, the resulting sound of midi muck is suck city. It is my bass and (perfectly sh*te) guitar over a Band in the Box background. So it all sounds a bit cacky. The fade end is because BIAB just stops and, weak as it sounds, it was the lesser of two evils. I rest by my view that doing everything yourself in your home studio makes for really bad Jazz In short, judge the composition, not the performance! My thoughts were 'Blue Note' sessions are usually simple written heads over 32 bar sequences and 10 choruses of solos. The waltz idea was because the second image was a flower and a straight grooving blues didn't reflect the visual concept as well as a waltz. [url="https://soundcloud.com/robert-palmer-1/yellow-blossom-waltz"]https://soundcloud.com/robert-palmer-1/yellow-blossom-waltz[/url]

Just finished week 3 (500 Miles High). Am learning a lot but do not expect it to bear fruit for weeks/months yet.

Go UB. That is one of my favourite bass sounds on any record. ARick! As a Rush and Yes fan of that era, that is a revelation

What is appaent is that, despite all the rhetoric, you CAN'T tell the make/model of a bass by the sound

Could be a Tele. LP is at my brother's