ambient

Don't actually think I'm supposed to do this, but they don't know who I am so it doesn't matter I guess . Don't know how clear it is, if you need any help just say !

I have a transcription on this at home, if you want I can post a photo of it ? It's in standard notation.

[quote name='Kevin Glasgow' timestamp='1370011106' post='2095535'] I love this song!! It sounds to me like the bassline uses an open F#. Maybe the bass was tuned up a tone (F#, B, E, A). That would make the bassline a bit easier. It's really hard to get the correct articulation otherwise. Another possibility is that it was played in E but then sped up. I dunno... Do any of you hardcore slap guys on here know how to play it? [/quote] That would tie in with my varispeed recollection.

I vaguely remember reading an interview in a guitar magazine with Nik Kershaw. He openly admitted that he used to cheat loads with his bass playing, varispeed. Didn't his bass player use a JD ?

Sold a Mono strap to laurence. A very easy transaction .

I think the Gallery is better, I've always had good service there, and they're far more likely to offer deals on items. I think the price marked on stuff at Bass direct is the price you pay. He also seems to push stuff, Bergantino and other expensive amps/cabs and Roscoe and Dingwall basses.

[quote name='RhysP' timestamp='1368641056' post='2079654'] There's every point to it if the person doing it personally finds it fulfilling. There are plenty of musicians out there who would be doing what they do whether they had an audience or not - they are driven to create music that means something to them first & foremost. I'm talking about writing original music here - obviously the criteria will be different if you're playing covers in a tribute band, doing wedding gigs or whatever as in that context you are doing it solely for the entertainment of other people. [/quote] Not at all. I play anything I'm asked in any style that I'm asked, I've done country and western gigs in front of 60 year old guys dressed in cowboy suits with cap guns in holsters at their side. I listed to the CD's I was given first and tried to capture the essence of what was being played. Regardless of the fact I don't actually like C and W music, and I thought the guys in the audience were actually slightly strange, I just enjoyed the playing, I live to play and create music.

[quote name='RhysP' timestamp='1368631685' post='2079495'] Only if you give a flying f*** about what other people think of your music or have a desperate need for people to tell you how wonderful you are. I'd say the highest goal in music is to create something that you yourself are happy with. If it ends up connecting with other people then that's just a bonus. [/quote] Don't most musicians play music for other people, ie functions band, session work, even original music, not much point to it if people don't like it.

[quote name='Prime_BASS' timestamp='1368598397' post='2078916'] Aye but everything flat isn't at 12. The filter knobs are half on at 12 o clock. They have a range of off to max. Like a standard volume/gain knob. [/quote] Yeah, I know. I just leave everything flat on mine, and maybe adjust the bass EQ or just adjust my playing style to suit.

At uni we're given a song a week to learn for a live performance the following week. We're given the chart and an MP3 and have to learn it note for note, we're marked on how accurately we play it with regard to capturing it's feel and tone etc. Marcus Miller is Marcus Miller, I'd have thought that whoever's doing bass for Chic now, he'd have to pretty much recreate what Bernard played.

I tried 3 sets a couple of years ago, don't really know why to be honest, what's the point in coloured strings, but the black came off each sets within an hour or so.

I think tonally the LM2 is one of the best amps. I've read numerous times that with everything set flat it's actually pretty colourless, you get out what you put in to it.

Pino's was Fiesta red over an original desert sand finish. I think 'cos of the fashion thing of fiesta red due to Hank Marvin's strat.

Surely one filter counteracts the other doesn't it ? Isn't one cutting the mids and boosting the highs and lows to get a 'smiley' face EQ curve, for a modern sort of sound. The other one is simulating an older Ampeg type of amp. Why do you use both at the same time, or am I wrong. I've gigged the same set up as you've got for the last 6 months, and just leave everything flat. That's using a variety of basses depending on the gig. I think part of the problem nowadays is it's sooooooooo easy to mess you sound up given the flexibility of tone control on an amp.

I've just finished year 1 on my music degree, I was thinking of starting my dissertation over the summer .