TKenrick

[quote name='Faithless' post='474782' date='Apr 29 2009, 08:45 AM']TKenrick, fellow Basschater, has a few transcribies of Jamiroquai on his web.. But not the old ones, i mean, Runaway, for example..[/quote] Thanks for the shout out, i'll do some old jamiroquai tunes next month when I get some more free time. In the mean time I'm going to have to edit and re-post Runaway as I was using it to teach the other day and noticed a few glaring mistakes!

Thanks for all the responses guys, its good to know that this kind of stuff is appreciated There are now a few more transcriptions on my blog site (the link is in my sig.), with more hopefully being added as the weeks go by. If anyone has any specific requests then let me know and I'll do my best to transcribe them. cheers, Tom

I had this listed in the amps and cabs section a while ago, I really need the space so I'm letting it go free of charge. Made in 1991, 8 ohm cab rated at 240W rms. Weight is roughly 25kgs. I'm located just off junction 2 of the M4. cheers, Tom [attachment=23651:IMGP3296.jpg] [attachment=23652:IMGP3297.jpg] [attachment=23653:IMGP3298.jpg] [attachment=23654:IMGP3299.jpg] [attachment=23655:IMGP3300.jpg]

I've got a Bacchus Strong EXT36 (previously owned by a couple of other BCers) and I'd recommend their basses, great build quality and playability. The only downside to mine is that it's a tad on the heavy side (11lbs), so I don't tend to use it for longer gigs.

Thanks for the replies guys, I spoke to Mark at bass direct and they don't have any in stock, although he said he'd ring SKB on monday and see what he could do... It looks like i might have to go to denmark street and grab a hiscox case - the management company can pick up the bill though And yes, the management are a bunch of cheap asses. I gave them the exact specs of the case I wanted from Castle over a month ago, it came to last week and they still hadn't sorted it so now it's too late to get one, they assured me that they'd sorted out a suitable alternative which turned out to be the stagg cases, luckily my Bacchus didn't fit in the case so I had to say no - I couldn't believe how badly made the stagg suff was, looked like something a 5 year old had made out of tin foil and card after watching blue peter.

Due to the gross incompetence of a certain management company, I'm frantically trying to find a decent case to take my basses on tour with (management bought stagg flight cases, which are the worst things I've ever seen). I don't want to be worrying that my basses are going to arrive at each destination in several pieces I've heard nothing but good about SKB bass safes so I thought I'd get myself one, only problem is that the gallery don't have any in stock and neither do gear 4 music. I leave on tuesday morning, so I need to get one asap - does anyone know of any other places that sell the SKB bass safe? Shure distribution are closed on weekends so I can't get a list from them until monday... Any help/suggestions would be hugely appreciated! Tom

Here's my two cents regarding beaming of notes: If I'm writing out parts, I'll always try group notes and rests to make each beat of the bar as clear as possible for whoever reads the part, so if you had the rhythm that you suggested of 8th - 8th - (8th rest) - 8th then I'd beam the first two together but have the last one on its own. Regarding the use of dotted crotchet rests vs quaver then crotchet rest, it's up to you - I find that i'll use dotted rests in simpler parts and subdivide each beat of the bar in more complicated things. As for whether you present your transcriptions as sections only charts, note-for-note scores or a combination of the two, I think it largely depends on the piece that you've transcribed. I'm trying to do more note-for-notes transcriptions to improve my accuracy, but if the song is simple or largely riff-based then i'll do a sections only chart. Tom

I wouldn't advocate shelling out money for ear training courses or software, just use cds you already own as a basis for ear training. Take small sections of songs (the simpler the better to start with), listen to what the bass is doing then try and sing the part being played. Once you've got the notes, find them on your bass. This will develop the link between your ears, your voice and your hands and should help to speed up the process of being able to play by ear. As an add-on to what Jake already said, don't just limit yourself to bass parts. Try and work out vocal melodies, sax lines and piano stuff on your bass. And be patient, it may take some time.

[attachment=20530:Use_Somebody.pdf] This was requested by one of my students, I thought I'd post it here for general consumption. Corrections, advice and comments are always welcome! Tom

[quote]Just wondering, are there any full-time session players on the forum? If so I just have few Q's: -Is it well payed? -How hard is it to find work? -Roughly what do you earn a year? -What qualifications do you have? -Do you play upright too? -And what is your main bass? Just a few things i'd like to know as i'm 16 and considering a career in music, possibly session playing.[/quote] I'm not a full-time session player, but I do a fair bit of paid work and I'd say the bulk of my income comes from playing. 1. Relative to other jobs, it is quite well paid. I'm currently working with a singer and get paid for rehearsals and gigs, but the issue is that the work isn't regular enough to give up my day job. Trying to get the money from management companies can also be quite a long and painful process... 2. In London it's not hard to get gigs, but if you're working with original artists who are in the process of 'making it' then IME the chances of getting paid anything more than expenses is minimal. The paid stuff that I've got has either come through auditions or being recommended by other musicians. 3. Not enough to give up my teaching job.... 4. I have a BA in music, but that in itself has never got me a gig. Comes in handy when going for peripatetic teaching jobs though. 5. I play upright, but not well enough to go out and gig with it yet. 6. My main bass is a USA deluxe jazz, I also have a 5-string Bacchus as a backup or if I need the low notes. Above all, it's really about [b]who[/b] you know rather than [b]what[/b] you know. Go to local jam nights, meet other musicians, try and find out if there are any agencies near you that can help you find work (there are various websites such as starnow.com and ukmusicjobs that are useful as well). One more thing.... learn to read! Tom

Bought a Mark Bass 1x15 from James last week, great communication, smooth transaction, great cab!

Personally I find that reading allows me to take certain gigs that I wouldn't otherwise get, particularly short-notice dep stuff. I generally loathe rehearsing, particularly for covers gigs, so I like being able to turn up at a venue, meet the band play through some charts, take the money and go home. Job done. I understand that reading isn't for everyone and I know plenty of great players who don't 'do' dots, but for the kind of work that I want to do it's fairly essential. As for knowing theory, there is no excuse, apart from pure laziness.

+1 on everything jakesbass has already said, I found that writing out the scales (note names, not in notation) helped me to get them into my head a bit better. Try writing out the scale, e.g. C melodic minor: C D Eb F G A B C Then pick out the chord tones (C Eb G and B in this case) which gives you the chord type that you'd apply the mode over: Cm(maj7) The remaining notes of the scale give you the chord extensions up to the 13th, which help to pin down the characteristic sound of the mode. I found that this helped me when I was trying to work out the names of the other modes. If you take a C melodic minor scale and start on D you get D Eb F G A B C D, which gives you a scale that resembles the dorian mode, but with a b9 (Eb), so you could call the mode D dorian b9, and play it over a Dm7(b9) chord. Hopefully this is more helpful than it is confusing! Tom

I used [url="http://www.musicroom.com/se/ID_No/018656/details.html"]'Simplified Sight Reading for Bass'[/url] when I was starting out with reading and found it really helpful. It's also a good idea to work on the two aspects of reading (rhythm and pitch) separately, for rhythm I use the [url="http://www.musicroom.com/se/ID_No/034904/details.html"]Bellson book[/url] and I've recently started using Gary Willis' [url="http://garywillis.com/pages/lessons/read.html"]'Extreme Sight Reading'[/url] on his website for pitch stuff. On the theory side, the [url="http://www.musicroom.com/se/ID_No/011274/details.html"]AB Guide to Music Theory[/url] is a good reference book that starts from the basics, the only downside is that the presentation is all a bit stale and it doesn't involve relating theory to the bass. hope this helps, Tom

I suddenly have intense GAS for a 6-string jazz... thanks! I saw a clip of him using one a couple of months back but didn't know if Fender were going to put it out as a production model, I'd be interested to see what the list price is on these.

It's a [url="http://www.gakki.com/catalog30/bacchus_ext36.jpg"]Bacchus Strong5-EXT36[/url] (formerly owned by Ped and Waldo on here). How much are the overwater sets? It seems their site is being redone at the moment so I counldn't find any price info.