Bilbo

I have to confess that I have long since become frustrated with the recording process i.e. vsts, sequencers, drum machines etc and I only put together pieces I can actually[i] PLAY. [/i]Hence my composiutions are tending to be limited to the standards of my guitar playing which is pretty poor. I could easily play more complex bass parts but this would rarely work against my weak guitar parts and even weaker percussion. I would love to update my music IT (I am still working with Windows XP so a lot of the modern stuff is incompatible) but there is never enough money, is there, and, when I do come into money, it tends to go on upgarding guitars etc not hard or software. I find that there is an uneasy relationship even a tension between one's ability to compose and one's ability to perform what one composes. The IT available today helps with this, undoubtedly, but I think there are limits depending on what genres we are working with. As I favour genres where sequencing is all but non-existent, I feel that am limited to what I can do with 'real' instruments that I can actually play. My choice, I guess. I really do enjoy these challenges though and don't really mind where I finish up in the voting.

I suspect she is not going to be suitable. If she is that advanced a reader, she is probably steeped in the classical tradition. Maybe she could handle a show but playing alongside less formal players, I would expect her to sound clunky and idiomatically suspicious.

Almost as irritating as Moondance.

It was. I would be interested in the price. PM me if you like.

I communicate in metaphors. Think acting. Reading a script out loud is doing that and nothing more. The acting equivalent of Musicality would be in making the words mean something, communicating the emotions and intent of the author etc. One is mechanics, the other is Art.

My wife has bought me a Harley Benton 12 string guitar for my birthday. Once again, I am astonished at the quality of these guitars for the money. I have tuned it up and recorded a couple of minutes worth and it is absolutely fit for purpose. It's not a Taylor but, as a piece of kit for occasional recording etc, it's a very nice instrument. https://soundcloud.com/robert-palmer-1/harleyh-benton-d200ce-12-bk

I have bought every instrument I own on-line or, in the olden days, by mail order. Never had a problem until I bought my Ovation Custom Legend from Thomann but they sorted out a replacement without any difficulty. My experience suggests that the risks associated with buying on line are about who you buy from.

[quote name='pete.young' timestamp='1500484695' post='3338196'] That would be Murray Collins. Josh himself is not bad either. [/quote] I did a support gig with them and we talked up ⬆ didn't get his name. Josh introduced himself to me as a.bass player when we first met so I knew he played but I have never heard him. They are working all the time.

I have one of these. Great Amps, perfect for double bass.

Top 40? Wedding /corporate? Party? What's the difference? And what is a Jazz covers band when it is at home?

There is a slap guy in or around Ipswich - plays with JS and the Lockerbililes. I am sorry but I don't know his name. May be worth you getting in touch with him if you want to try slapping. PM if you can't find him and I will put you in touch with the bandleader whose details I do have.

An attractive instrument. I hope you enjoy it.

You gotta love it. http://youtu.be/QxIWDmmqZzY

Ya beat me, Pops. https://soundcloud.com/robert-palmer-1/tango-approximata

I think that there are other factors at play here. Many popular musicians end up looking for greater challenges such as Jazz but, depending on the level of their earlier successes, turn back to more popular genres in an effort to recapture their early financial successes. Gary Moore was never an A lister so always sought a means of generating income. His rationales were little more than justifications. Miles Davis wanted to achieve the success of Hendrix. It wasn't a musical driver, it was socio-cultural. He wanted the status and kudos. The guys who started Earth, Wind and Fire were ex-Jazzers. The Stranglers were a Prog band. It is the lure of financial success that attracts. There are people who were successful in Pop who moved into Jazzier genres who never really went back; Elvis Costello, Andy Summers, Colin Towns, Georgie Fame etc. There are others but I am typing on a phone and can't be arsed.

I had a good day yesterday, reading some Ralph Towner transcriptions I found on-line. My treble clef reading is starting to come together.

Yes it fits. Proceed with caution, however. If you get the angle wrong, you will crack the windscreen. I did it yesterday. Fortunately, the MOT is due next month and an existing chip plus other scratches meant that a new windscreen was on the cards anyway but, for those pondering the great mystery, you CAN get a 3/4 double bass in a Smart if you are careful. Ironically, I didn't NEED to do it as I have a bigger car. I just wanted to try.

Reading 1981 (I think) shortly followed by Donington and Port Vale (Frank Marino, Ozzy w. Randy Rhodes and Motorhead). Not sure of the line ups as I went several times and can't remember which year was which.

[quote name='Elfrasho' timestamp='1498424871' post='3324561'] ....Ed Sheerhan and a guitar has its limits imo. [/quote] Fixed.

I am not the world's best reader by a country mile but I can get by through most reading gigs with a little preparation. Or at least I could.... I have started playing more guitar (at home). Not because I want to gig per se but because I am not getting the gigs I used to on the electric or double bass and so practising the bass is a little bit thankless. Anyway, I decided that I want to improve my reading of guitar music and bought a book reading exercises. So I worked on that for about an hour, making some progress and starting to find the notes under my fingers. When I finished the first few exercises, I got my Bach Cello Suites out and, whaddaya know, I can't read bass clef any more I am sure there are people on here who can read both (I know there are some horn/bass doublers etc). Can anyone reassure me that this is a temporary state!! I know pianists read both simultaneously so it must be possible but it is an uncomfortable feeling finding yourself re-entering conscious incompetence when you thought you left it behind a while back!!

Didn't get to it this month, guys. Sorry.

I tend to grow out of bands so their material may be of similar quality but I am looking for something else. This happened with Yes, Rush, ELO, Genesis, Weather Report, Dave Holland, Wynton Marsalis, John Abercrombie(although I am rediscovering him), John Scofield, Pat Metheny etc etc. Not their fault, just need to find something fresh.

I don't think that things die out as much as they become minority interests. So many genres now that didn't exist in my day. Home production is easier, technology etc. If find myself wondering whether the standard of players is now so high, it disincentivises the beginner.

Acoustic Image Clarus head and Ten2Ex cab for double bass, adding a PJB cab for a little extra poke on electric gigs. Sounds lush.

Another aspect of this phenomenon is the 'other gigs'. That orchestra gig described above could be followed by a big band gig two shows and a studio session. Remembering material is a discipline that is confined to small self contained acts or lengthy bookings like tours and is not universal amongst jobbing pros.I love charts myself because I find one or two rehearsals more confusing than helpful.