ambient

I sometimes tune to A @ 432hz, I've used A @ 417hz, that was quite dark sounding (to me). Like others have said, people tended to tune to each other, if the source tuning was out, then they'd all be out.

[quote name='yorks5stringer' timestamp='1505429997' post='3371936'] The Roland Bass Micro Cube is what I took one holiday and they often come up in the classifieds for around £130. You can use a battery as well as mains so if you are camping..... [/quote] A guy I play with in an ensemble uses a pair of these, they sound excellent.

[quote name='T-Bay' timestamp='1505404038' post='3371683'] +1 and it seems to be what the majority do so I was a sheep and did the same. Mine evolved from a stupid conversation about where I live (someone thought Tamworth was by the sea) which ended up with me being known as TamworthBay by a few people which then got shortened to Tbay. [/quote] Tamworth by the sea? So there's someone in the world with a worse knowledge of geography than me, incredulous 😊.

There's a guy on Facebook plays a 7 string version.

Zzzzzzzz top.

[quote name='itsmedunc' timestamp='1505319398' post='3371029'] Meatloaf, Meatloaf and Meatloaf. And Queen I suppose. [/quote] Two more to add to my list .

Ac/dc, iron maiden, guns and roses, oasis, Motörhead.

At my gig last Sunday afternoon we were paid at the end of the first set by someone, I don't know who she was, but she seemed at the time to be in charge. Then at the end of the gig the owner's son came up and offered us the same again, unaware that we'd already been paid. We just explained that we'd already been paid, it's a residency gig that we'd hate to lose, but none of us would dream of anything dishonest anyway.

[quote name='yorks5stringer' timestamp='1505231047' post='3370404'] [color=#282828][font=helvetica, arial, sans-serif]'Last time I went I had to walk from my car, and open the door myself.'[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Maybe if you both park nearer the door...........? [/font][/color][color=#282828][font=helvetica, arial, sans-serif] [/font][/color][color=#282828][font=helvetica, arial, sans-serif] [/font][/color] [/quote] There was no red carpet either!

Last time I went I had to walk from my car, and open the door myself.

A 'pro' is still a human being, complete with character traits, moods and a temper.

While I do feel really genuinely for them, it's not really the safest of places to leave all your gear unattended is it? Hopefully they'll get it back.

[quote name='NancyJohnson' timestamp='1505150792' post='3369849'] Sound/tone comes as much from your hands as much as the pickups and guts of the thing. [/quote] I have to agree with this. At uni people played my instrument, I played theirs, I sounded like me, they sounded like them.

[quote name='BigRedX' timestamp='1505128507' post='3369607'] Riffs? I think you are seriously over-estimating what the Fairlight could do sampling-wise back in 1983/4 when FGTH's first album was recorded. The individual notes might well have been NWR but the "performance", which is the important bit, will be whoever worked on the Page R for the bass part. [/quote] J. J. Jeczalik.

[quote name='Happy Jack' timestamp='1505134159' post='3369676'] While people seem to be in let's-all-bash-one-of-the-few-remaining-specialist-bass-dealers mode, I do hope similar negative topics will now be created to attack anyone else who is trying to supply us with a decent choice of high-quality basses. After all, we wouldn't want any of these deluded fools to survive in business, would we? And then just think of all the great topics we can start, bemoaning the good old days when there were actually real shops in the UK which would let you play a bass before buying it. As somebody famous once said: "I may be right, I may be wrong, but I know you're gonna miss me when I'm gone." [/quote] That's my thoughts exactly, I've said as much earlier in the thread.

There's some lovely playing on Richard Barbieri's albums, which actually is where I first came across Percy Jones. I saw Richard do a masterclass recently in Birmingham, he played some isolated bass tracks, fantastic!

it's a bit green.

I've never really understood the term 'pro attitude', or why people assume that a professional musician will have a certain personality. They're pros because that's how they make their living. My brother is a professional car mechanic, that's how he makes his living, as opposed to someone who does it as a hobby. He's reliable, friendly and good, but he knows an awful lot of people who only share a few of those attributes, some none. My mom was an accountant until she was forced to retire, that was her profession. From my experience I've met professional players who've been amazing musicians, others who've just been very average, but they still manage to make a living in their particular niche. They're people, and their personalities vary as much as anyone else's.

The engineer who's name I don't remember now, but he later became a part of the art of noise, gave a guest lecture at Goldsmiths last year. He spoke a lot about this, They'd been trying for ages to get the tracks to work, they'd had all sorts of session guys in, but it just didn't feel right. Apparently he stayed over late in the studio, messing about with various samples in the Fairlight, and he got a sequence running. Trevor Horn came back and loved it, the two of them spent the night then just improving and building on it. Basically it's all sequenced Fairlight.

I know very little about Carol Kaye or Dunn. From what I've read about Jamerson, the parts were written for him, but he was expected to add his thing, and improvise. The standing in the shadows of Motown book is a great resource if you're interested in Jamerson's work. You can see the improvisation, subtle changes and development as the line progresses.

[quote name='The Jaywalker' timestamp='1504877474' post='3367980'] Yeah, absolutely. No way a lot of those arrangements and chord progressions would have happened without GM, simply because he re-wrote them and the band were into it. It was his job. Some of the greatest pop music of all time. Flip side of that is also evident as well - even officially-approved Beatles bios have mentioned McCartney's ego-tendency to lay claim to GM's stuff (brass band stuff springs to mind). I guess the point is that it's not only session players who play parts producers/MD have put in the music. It's pretty common. [/quote] I think GM's input is evident from the way they went from being a pop band producing stuff that was very similar to that of many other bands of the time, to producing Yesterday and Eleanor Rigby.

[quote name='chris_b' timestamp='1504884101' post='3368078'] Duck Dunn, Carol Kaye and Jamerson improvised and/or read their lines. It all depended on the producer. Some producers insisted that their parts were played exactly as written and some just came with the chords scribbled on a fag packet. There was every other kind of session in between. Nathan East, Sean Hurley and Alex Al etc say that many producers expect the bass player to "leave something to the table", ie come up with an interesting twist on the bass lines. [/quote] Which is why they'd be booked, they want 'their' signature on the part.

[quote name='paul_c2' timestamp='1504882187' post='3368042'] I've seen cello music where a cellist has pencilled-in the names of the notes above the (standard) notation. The reason - because it was on the tenor clef, and they're obviously unfamiliar with it, hence the extra markings to help themselves. However I also know cello players who are quite comfortable with the tenor (and treble) clef, and don't need to pencil in reminders of note names. So it just shows that its not so much one or another system (ie tab vs standard notation) is better, but that players who learn, comprehend and master their instrument get good at what they practice. If you haven't learnt/don't practice reading standard notation, its no surprise that its difficult and also no surprise that its perceived as a mystery to some. But its just an aspect of learning a musical instrument. Its the same with playing by ear, or improvising - classical musicians typically don't (and don't need to) do this, thus these areas are poorly developed. Its recently changing, Trinity (exam board) now have an improvisation section in their graded exams, however ABRSM don't. [/quote] One of my tutors once told me, "never be afraid to pencil in". I did a lot of orchestral stuff at uni, treble and bass clef were fine, alto was a pain.

[quote name='BigRedX' timestamp='1504880109' post='3368022'] I've only ever seen tablature for fretted instruments where IMO it makes the most sense. For me the whole point of fretless instruments is that you can play "in-between the notes". Incidentally how does standard notation show quarter tones and the like? Apparently according Wikipedia there also tablature for chromatic mouth organ! [/quote]