dodge_bass

Yes - this sounds excellent (in this context that's EXACTLY what I would have done). I'm a BIG fan of sensible numbers of bars per line (4 / 8 etc - depending upon song structure / section length etc) as well as that makes it really easy to navigate and follow. Kind of gives a 'physical visual structure' that relates to the musical layout as well. And yes @jrixn1 that's exactly what I was getting at. Again I would go for numbering bars 4 and 8 just because so much modern music is structured around 4 / 8 bar / 12 / 16 bar sections so it kind of makes sense to me to keep it logical and help the reader as much as possible.

Whatever is simplest for the reader - having to count the same single bar 10 times might be ok or might be easier to get lost? Maybe write 5 bars and then put the repeat round it - that way it's one repeat so unlikely to lose the player. OR (not using repeats) If it's the same figure and you do write ten bars of it you can put little numbers in brackets above the bar (say at bar 4 and bar eight) to help the player know how far they've got - its often easy to get lost if you're reading repeated bars of the same figure... Bottom line - no specific rule about repeats but like with lots of notation stuff it's good to think about how a player, who could be sight-reading it live on the gig for the first ever time, would be best supported. Again not repeats but I've been caught out before trying to navigate horrible chart structures (double DS's, strange repeats etc) when I've never sene the chart before and am depping....so annoying as you end of looking stupid when it's not your fault. Hope that sort of helps?

I'm a big fan of the Groove Regulator (first one - there was a GR2 also I think?). I think each subsequent model added more knobs and options but for my money it got harder to dial in a sound. Thats just my experience. I run mine mainly with an OC2 before it for squelchy synth sounds and they play great together.

What a legend @bassace After some chat online on one of his for sale threads he kindly (and for free including covering P&P!) sent me a custom clip he'd made for fitting his mic to his double bass. He didn't mind me slightly hijacking his for sale thread to ask about the clip and true to his word sent the next day. Fitted it and did some recording and it's brill. AMAZING! It just goes to show again what a GREAT place bass chat is and what lovely folks you all are. Thanks to all the mods for keeping this place running and to everyone for being down to earth decent chaps! Bass love to you all!

What a legend BASSACE is! After some chat online on one of his for sale threads he kindly (and for free including covering P&P!) sent me a custom clip he'd made for fitting his mic to his double bass. He didn't mind me slightly hijacking his for sale thread to ask about the clip and true to his word sent the next day. TOP TOP CHAP! Thanks!

I really like the Empress compressor - both for it's wet/dry mix but also the visual monitoring which most don't offer. If you're using light compression it's good to be able to see just what's going on as it's not always easy to hear exactly what is happening. I've got one on both of my boards and I"m really impressed by it. Good luck with choosing, they're are loads of great comps out there and different reasons for choosing each one!

I don't even gig full time anymore and it's hit me hard. All the other pros I know are absolutely on their derrières.

Yeah I've had a number of gigs cancel along with a really well paid week of theatre work as well. Go a choir gig next Sat which might happen but to be honest can't see it going ahead. Worrying times....

Ouch! Great sound

Absolutely - I was looking quickly for some examples of rest but couldn’t find any. I did find a few examples of 8th notes crossing the beat. As you say the rules really are inconsistent which is frustrating! Welcome to a whole world of pain. The key thing though is clarity and ease of conveying to the reader what you want! On that we’re all agreed :)

hmm- that's really interesting...because I've spent my whole life also reading and regularly see this (jazz chats. big band charts / theatre scores/ classical pieces). As I noted it's only for 8th notes where you can cross the beat NOT for 16th notes as that's far too tricky. But ultimately you're totally right about the readability vs convention on that we agree, as for our actual expereinces we'll have to disagree

That's much better. This is the correct way to write it HOWEVER given that it's only 8th notes and the centre of the bar is now visible most people would make the 2 x quaver rests into a single crotchet rest. Yes it cuts over the individual beats but in this case it's simple rhythms so it's not so important. If it was 16th notes then all 4 beats would need to be clearly defined but less so with 8th notes. Your call though on this. Music notation often contains lots of rules that aren't always followed...great fun when you're trying to learn!!

Bought Ralph's preamp pedal - great comms and sent it straight away. He couldn't find the power supply but kindly send me a link to a similar supply and all was fine... ...except it wasn't. I bought a supply and couldn't get it to work....so I spoke to Ralph again and he kindly spent 45mins searching for the power supply...which he then sent (without charging me extra as would only have been fair). All's well that ends well but it needs to be said that this man is a... TRUE LEGEND OF THE HIGHEST ORDER! And another reason why this forum is simply an excellent place to buy / sell / trade things. Thank you so much - highly recommended. Deal with confidence

Yes - I think you're right. I've worked long and hard on this but still get some noise, only noticeable when playing solo / without other supporting instruments. And yes I reckon you're spot on about the EQ-ing as well.

Agreed - that's some useful feedback right there Mr FDC. I am also a very big proponent of including the harmony (chords) in any transcription that way you can at a glance see how the bass line fits against the whole song. It also makes it much more useful for teaching and study. Overall though, great work, transcription is a great way to progress your learning - keep doing it.

I've got two...they're very clean but do a great job, small footprint too. I tend to keep mine as a backup DI as I prefer a warmer tube-ier sound these days but very impressed by them. They're always the DI's I recommend to my bass students as a good starting point for when they're thinking about their signal chain. You can't go wrong with one of these.

I saw his recent SBL trio recording video and was astonished by the clarity and warmth of the sound that he get's without seemingly any finger noise / fret noise. Beautiful tone - trying my hardest to get close to it but falling massively short! Great solo too - very much in the style of the iconic Willie Weeks solo from 'Everything is Everything' - also perfect supportive playing from the drummer on this solo. This is ALL GOOD

THIS. 😂

Absolutely fine my man. As you were

No - I think you're very wrong actually in your last sentence above - it's the process of working this stuff out (exactly in the manner you describe) that does develop your ability to understand music further. Let me give you an example - by working through a walking bass line in a jazz standard using this method you get an exact understanding of how the bass player who played it thought about harmony / approached it / played it over (in this case) a given progression. If you want to sound like Ray Brown / Jaco / Jamerson / whoever you're into to you need to do this. What I'm saying is that the actual process of doing this (rather than getting a programme / 'resource' to do it for you) is that process that *will* develop your understanding of harmony / chords tones / genre specific approaches to chords / progressions and a knowledge of how individual bass players sound like they do. As you note it's slow and takes time to do it yourself - because you're having to think about it (= you're learning a new skill). The more you do it the quicker you'll get at hearing / analysing music on the spot which is a serious development of your musical ability.

Fair enough but I think the development comes from working it out if that makes sense. Otherwise you're trying to run a marathon without training (not the best analogy but it kind of works..!). The more you do it the quicker you'll get (theoretically and aurally) and the more you'll develop as a musician...a positive feedback loop if you will. No short cuts. Sorry man!

I don't *think* this exists - mainly because most people do it either on the fly or by taking time to transcribe a line / solo / groove and part of that process is understanding how it works with the harmony around it. Everything I play / compose I have a solid sense of how it's working with the harmony at any given point. Is this something you're trying to develop or do you have a different reason for wanting to know this info?