Bilbo

I got the arse because I was going to put vocals on it but needed a mic lead because mine had died and I don't want to have to go out and buy one this month and my compressor was arsing about and I couldn't get the guitar sound I wanted for the lead (which was a total botch anyway) and the drum sounds were sh*t so I compressed them and added some gain so the drums sounded great but the cymbals were too heavy and, somehow, in the wrong place and ..... You get the idea

[url="http://soundcloud.com/robert-palmer-1/six-string-noodle"]http://soundcloud.com/robert-palmer-1/six-string-noodle[/url] I found this on my PC last night. I was trying out my Status 6-string fretted years ago and this was me messing about with no real purpose. Listening back several years later, it's amazing how much difference six strings and frets makes to your 'thing'. In truth, I have no recollection of doing this and initially wondered who it was!!

I am only putting this on here to show that I tried but I have given up (its taking too long and I can't play the instruments well enough to make it sound 'proper!!) [url="http://soundcloud.com/robert-palmer-1/mosh-pitata-2"]http://soundcloud.com/robert-palmer-1/mosh-pitata-2[/url] Here is my effort to do it with found sounds (I was being ironic!!) [url="http://soundcloud.com/robert-palmer-1/mosh-pitata"]http://soundcloud.com/robert-palmer-1/mosh-pitata[/url]

A live version of The Lamb Lies Down On Broadway by Gabriel era Genesis.

I had the first issues of bass player magazine. They were great but, to be fair, I was more interested then and loved everything bass!! I don't buy bass magazines anymore.

I am still thinking about it but have realised that my small number of VST drums sounds don't work for rock music so my rock guitar sounds (Pro-Co Rat) overwhelm them to the point where the end result doesn't sound remotely rocky an my composition doesn't work. May try something else and see what I can do. What is interesting is the fact that trying to work to the image instead of to my comfort zone, forces me to look not only at the notes but also at the timbres, genre etc etc.

I think it may be helpful to draw people's attention to the fact that the rhythmic placement of the sequence of descending licks is contributing to the 'out feel'. As the lick is based around three/six note licks, it always crosses the beat, thus adding to the tension. Sounds cool and that can also be used to create tension in a line (Jaco did this a lot).

I used to see Andy Sheppard regularly at the Four Bars Inn in Cardiff in the late 1980s. I remember when most of us heard him for the first time on a BBC programme about the Schlitz Beer Jazz competition. Everyone played two tunes except Sheppard who played one which started with an extended solo improvisation on soprano sax using circular breathing (the tune was called 'Esme'). It was an absolute showstopper. I also loved his Rhythm Method band with Steve Lodder, Claude Deppa and Sylvan Richardson.

Started on mine today. Got some bare bones happening. Nice production, Nige. Mine's probably going to be low-tech

I just heard today that the publishing date is now November. The delay is always frustrating but at least you will all now know what to tell your loved ones to buy you for Christmas.

Reading Rhythms.....highly recommended [url="http://www.amazon.co.uk/Musicians-Institute-Encyclopedia-Workbook-Instruments/dp/0793573793/ref=sr_1_sc_2?s=books&ie=UTF8&qid=1349371424&sr=1-2-spell"]http://www.amazon.co.uk/Musicians-Institute-Encyclopedia-Workbook-Instruments/dp/0793573793/ref=sr_1_sc_2?s=books&ie=UTF8&qid=1349371424&sr=1-2-spell[/url] Ref: reading in different keys. I found the Bach Cello Suites usedful for this as they cover a lot of keys and include tenor clef and treble clef. I should be able to think of something else but I can't think at the moment (guests due any minute etc) [url="http://www.amazon.co.uk/Faber-Music-Bach-Cello-Suites/dp/B003HKDZ02/ref=sr_1_14?s=books&ie=UTF8&qid=1349371585&sr=1-14"]http://www.amazon.co.uk/Faber-Music-Bach-Cello-Suites/dp/B003HKDZ02/ref=sr_1_14?s=books&ie=UTF8&qid=1349371585&sr=1-14[/url]

I was referrihg to the fact that my little head increasingly struggles to figure out these complicated devices and that I am beginning to realise why my 100 year old Nan, despite being able to make awedding dress with a roll of fabric and a needle, couldn't work an electric can opener!

I like fountain pens....

So write your own piece....

A miming vs backing tapes debate is not about right or wrong but about degrees of offence. Bit like commercial v. domestic burglaries. Those who commit commercial burglaries will always say 'at least I don't do houses'.

I can! 'But the audience loved it' 'He was bringing people to live music who may go on to see other live bands' 'The venue wasn't big enough for a guitarist/singer who actually played guitar and sang' ..... shall I continue?

Or John Patitucci's 'Long Story' of his Mistura Fina cd.

Wow! Got the whole story, end to end, in one sitting. One thing my 22 years of working with offenders has told me is that most of them are entirely predictable. If it is stolen today, it will be at Cash Convertors tomorrow along with a video of the offender selling it to them. Glad to see the bass found its way back to you. Anyone in Bristol seen my GK MB150S and SWR Baby Blue cab? (Stolen in 1994)

Those two are the ones everybody does so I woudl discount them completely (but that's just me). Try one of these Prelude to Bach's Second Cello Suite (in D minor) Level Pegging by Dave Pegg Dave Holland's arrangement of 'Mr. PC' or 'Goodbye Pork Pie Hat' Jonas Hellborg's arrangement of 'Blue In Green' Jaco's arrangement of 'Naima' Jeff Berlin's arrangments of 'Dixie', 'Tears In Heaven' or 'Imagine' That's about 15 years work. Good luck

It's all soooooo rock and roll....

I've said it before here but I think that one credible professional instrument is enough for me. I think a lot of the benefits of this bass over that one are illusory and entirely circumstantial. I have had pretty much one electric bass for 26 years and one combo for 12 and have never felt the need to look elsewhere. For me, it has long been about the music and not about the bass guitar. I think I would probably be perfectly happy with one fretless bass, whatever it was. My double bass is not a great instrument but it does the job and people have been kind about the sound so why worry? I figure that, if I want it to sound better, I should practice more.

More Jazz, that's for sure, as no Jazz gig ever has more than 200 in attendance unless it is a festival where all of the Jools Holland/Van Morrison fans are looking for something to do before the headliners start.

Right, where is the October photograph?

Let's mention Passport, Return To Forever, Mahavishnu Orchestra, Bruford, Brand X, Soft Machine.... all had their strengths and weaknesses but also their highpoints.

I remember erading a thing a thousand years ago when Clarke discussed hus thenrig. He said he had this major rig with crossovers and all sorts of bells and whistles but that, one day, he realised that no-one had ever actually complimented him on his sound. SO he simplified it a lot (can'r actually remember what to, I am afraid). I play mine through my Eden Metro and have no feedback probs (includes a Fishman Plat Pro).