lowdown

[quote name='lowland' timestamp='1477926735' post='3165309'] Try this, note fretted gliss @ 0.03 - [media]http://www.youtube.com/watch?v=h9iyPEJ4ELw[/media] [size=4][font=arial,helvetica,sans-serif][/quote] Ah..ok. A full track version. This is the version I thought was Mo Foster (The opening titles cue)[/font][/size] http://www.youtube.com/watch?v=1b3FLCpu8bk [size=5][font=arial,helvetica,sans-serif][color="#222222"][size=2]I believe 'Rich' (moderator) interviewed him for Basschat, maybe he knows.[/size][/color][/font][/size] [size=5][font=arial,helvetica,sans-serif][color="#222222"][size=2]http://basschat.co.uk/topic/182955-interview-with-mo-foster/[/size][/color][/font][/size]

[quote name='lowland' timestamp='1477923833' post='3165271'] I think we're both right - I didn't know this before, but it seems there are two versions - one Foster (fretted) and one Katz (fretless). [/quote] Any links for the fretted version ? I have never heard a fretted version. It would be interesting to compare them. I know that there were two or three alternative arrangements over the various seasons.

[quote name='lowland' timestamp='1477920908' post='3165252'] Fretless bassist on Bergerac was Dill Katz - one of those bits of trivia you pick up along the way :-) [/quote] Learn something everyday. I thought it was 'Mo Foster'. Another one of my favourite Film Themes, 'Exodus'. The video says 'Henry Mancini', but the composer is Ernest Gold. Pretty rousing and dramatic. [media]http://www.youtube.com/watch?v=32YPozK5Y-0[/media]

Not sure he does anything bad. Well it's all bad I suppose. I really enjoy listening to his playing. Always something to knock me out. Feel, technique, drive, it's all there.

[quote name='Damonjames' timestamp='1477341742' post='3161625'] My question is, when a drummer miss hits and stalls for the [b]microsecond[/b] that feels like [b]a lifetime[/b], do you...... [/quote] This line has caused so much grief in this thread So, are we are talking a BPM of 10 ?

For full time Musicians (although you don't have to be a MU member, just the rate is better). There is a chance for a test and then a fitting[color=#1D2129][font=Helvetica, Arial, sans-serif] for new pro-level earplugs.[/font][/color] [color=#1D2129][font=Helvetica, Arial, sans-serif]It has just been pointed out and recommended by a couple of my muso friends. (all[/font][/color][color=#1D2129][font=Helvetica, Arial, sans-serif] for £30, under the MU's scheme and taking [/font][/color][color=#1D2129][font=Helvetica, Arial, sans-serif]advantage of the subsidized offer)[/font][/color] [color=#1D2129][font=Helvetica, Arial, sans-serif]I am just about to apply and will update.[/font][/color] If you want to check it out, link here (nothing to lose by applying). https://www.helpmusicians.org.uk/working-retired-musicians/musicians-hearing-health-scheme

[quote name='AdamWoodBass' timestamp='1477571063' post='3163044'] LOL spelling fail *facepalm* [/quote] Yes, but did you notice how some of us carried on and waited for you to catch up? True professionals.

[quote name='Dad3353' timestamp='1477570231' post='3163027'] In my early days playing in French variety bands, there were many 'dep' occasions where I'd be enrolled in a formation with only approximate notions as to the real score to be playing. In one particular 'band', the band leader was also the wholesale supplier of the beers to the events, and so had leverage to be the chosen band for the event. Couesnon (the bloke's name...) would play sax or trumpet, his son on accordion or keys. A couple of regulars on guitar and bass, with whoever was available on drums. All very well, as they mostly knew the repertoire, but very disconcerting to find that they had only sketchy knowledge of how the tunes were supposed to go, and, in all evidence, had never, themselves, tried to dance to 'em. Missed beats, extended sections, doubled (or almost doubled...) key melody lines; it was all over the shop, even from verse to verse. As they had been playing together for quite some years, all (or most...) of these oddities had melded into, for them, a quite smooth performance, as they tended to make the same hops, skips and jumps mostly together, but for the first few sessions, it was difficult (read 'impossible'...) to anticipate quite what they would do. My technique at the time was rather unversed in the specific notions of 'musette' (the style of music from pre- and post-war crooner-jazz accordion stuff popular in France, and with a strong following, even today...). I adopted a bastardised soft disco beat, with a hi-hat lift for lightness, and a soft-ish 'poom tah-tah poom tick' for most of the 4/4 stuff. I would play on, regardless of their antics, with the firm intention of keeping the dancers (and there were many...) on the floor from having to break stride (or break a leg..!) when the song slipped. The 'pulse' came from the drums; anyone singing along to these very well-known melodies would have to adjust, themselves, to the gymnastics on stage, but the beat would go on, and the couples gyrate smoothly all evening. I never had complaints; I'm pretty sure they didn't even notice, any of 'em, and the floor was always appreciative and generous in their applause at the end of each segued section. I've not changed my opinion since. The rhythm is king; if the drummer drops it, the band plays on, and [i]vice versa[/i]. It would never do to have other members trying to adjust; that can only make a busted beat break down even further. [/quote] Nice little story.

[quote name='chris_b' timestamp='1477565334' post='3162979'] Unbelievable!!! [/quote] Yes, I agree. If a Drummer (or any musician for that matter) can't sort him/herself out pronto, they are on the wrong gig. Might be alright for a duo, you ain't got no choice but to follow the Drummer, but in large bands, Orchestras ? Chaos. If there are problems with Drummers messing up, the MD would direct the band and if need be, follow the MD. Good grief can you imagine letting 60 members loose in an Orchestra ? Apart from the Conductor feeling a redundant lonely person. Can you imagine the hard work the next day, sending out 60 odd P45's.

[quote name='solo4652' timestamp='1477559098' post='3162920'] Still can't get hold of the drummer for a chat. He's offered to send examples of the guitarist and singer at rehearsal. I've asked for the songlist. Via email, I've also asked him about the guitarist's use of backing tracks, and whether he can replace the brake discs on my Seat. [/quote]

[quote name='fretmeister' timestamp='1477478372' post='3162446'] One of my mates is a cellist. Could sight read Grade 8 exam pieces in a dark room wearing sunglasses. She can't improvise worth a damn.Funnily enough the players of the "jazz" instruments (trumpet, clarinets etc) seem to be far better. I suppose there is more of a cross-over for those instruments. But the bassoons and cellos etc - not a chance. [/quote] Judging by responses on this board over the years, there are a lot of Bass players that can't improvise, or are out of the depth/comfort zone busking tunes on a gig without tabs/dots/Mp3/CD's before hand. A bit unfair to single out Classical musicians.

Maybe the windows [color=#282828][font=helvetica, arial, sans-serif]reinstall[/font][/color] has defaulted to using the windows sound drivers? Instead of your USB interface drivers? Although you are plugged into the Interface, you might be recording and playing back through the internal soundcard. Edit: Just noticed that you said it happens on your partners Laptop as well. What Interface are you using ? Do you still get the noise and hum when the Interface is not plugged in? If you have tried using the USB Interface on both Laptops, possibly a Interface problem. These things do go wrong.

[quote name='Leonard Smalls' timestamp='1477408427' post='3162038'] 11 bass faces, far too many notes... What's not to like? [/quote] On the original studio version, the Guitar playing from Ray Gomez often gets overlooked, especially the early opening solo. That's a bit as well. Definitely out there.

[quote name='Leonard Smalls' timestamp='1477401293' post='3161983'] The pinnacle is something that there's no way in this world that I could even come near to... Something like Stan's "School Days". Here he is, with some friends! [MEDIA]http://www.youtube.com/watch?v=rdRG-hD5ZKo[/MEDIA] [/quote] Haha.....Brilliant. Although I should think for some on this board, it's a Halloween Nightmare.

I bet this guy wished he had miss hit, or totally missed. Skip to 00:32 [media]http://www.youtube.com/watch?v=d6lWTpOH3q8&feature=youtu.be&t=30s[/media]

[quote name='BigRedX' timestamp='1477401416' post='3161987'] No I'm just saying that here in the UK we have an extra 5 days that deserve to be christmas free! [/quote] Yes, sorry I knew what you meant. Just a bit of jesting.

The Good ol' US of A is here to stay. Just look at Blue on this very site. You will never take him alive.

[quote name='PaulGibsonBass' timestamp='1477388279' post='3161835'] Just heard Slade being played in a shop... it's started already! [/quote] [url=https://postimg.org/image/esjfzrlcz/][/url]

Yep, a part of Rock history. I too liked his version of [color=#282828][font=helvetica, arial, sans-serif]'Take good care of my baby',[/font][/color] RIP

[quote name='lowland' timestamp='1477315254' post='3161321'] How many sound engineers does it take to change a light bulb? "Sorry mate, I don't [i]do[/i] lights, just sound...". [/quote]

[quote name='solo4652' timestamp='1477314543' post='3161308'] Can't give an update because my three attempts to speak to the drummer have so far gone unanswered. [/quote] Understandable if it's this guy - He is really busy. http://www.youtube.com/watch?v=yH6hzTh3YHc

[quote name='lowland' timestamp='1477314215' post='3161305'] Three of us are sound engineers (1 mastering, 1 mastering with a record production background and 1 studio owner/recordist/mixer) with a lot of experience between us, so - in theory anyway! - we should be able to make it work. [/quote] I am sure there must be a light bulb gag in there somewhere.

[quote name='JTUK' timestamp='1477308352' post='3161214'] I'd go with this. You get booked and you get introduced to the band at the gig. You need to be able to COVER it...the band needs to know you CAN cover it. The BL might be in the swing of things and going through a lot of 'standards' but they are only standards if you've been there before. There may be all sorts of signals where he points to the head and he has just concocted a medley as he has read the audience and wants to get them on track ...he'll give you 3 down as the key (usually just holding his hand behind his back) so you better know where that key and change is. Some people can do this ALL by ear without knowing what on earth is going on...but those with such perfect pitch are very rare, IME... so most people just use those as clues/prompts and can hear changes..but they have to know the chord note in the first place. This is relative pitch which is a very good skill to have/learn. IMO. I'd say playing by ear is knowing the song in your head, but you've never played it..or not in that key..you just know it.and you also know there is a section that requires changes. You should be able to hear intervals like 2 tones down for example..and you should know turnarounds. So, with a bit of a jazz background, because these are mostly jazz situations that get you started and most gigs are like this, you'll be able to deal with 70% of the set straight off. You have a WIDE repetiore, know styles and a few time sigs, and you can make a go of latin, reggae etc etc without throwing the whole band out. You can then solo over a few basic changes. This, to me, is a solid by-ear player. who has enough theory to busk that without anyone thinking he is out of his depth. If you can read charts as well, all the better but the BL needs both because he may not have time to give out charts all night or direct you to them without breaking the flow too much..so he'll chop and change it. To do this gig, you need ' great ears'.as this is way beyond a few 12 bars. [/quote] Exactly. Relative pitch practise is as worthy as reading and theory practise, along with scales, chord tones etc.

[quote name='Coilte' timestamp='1477299801' post='3161130'] I accept your opinion, but I have always assumed playing by ear to mean...[u]learning[/u] a song by working out the bass lines yourself without tabs. I also assumed that this would be done at home, tweaked if necessary at rehearsal....[u]THEN[/u]...go and gig it. Personally, I would never try to perform a song for the first time on stage without having worked on it before hand. YMMV. [/quote] I did say both, as you quoted. Mikel said above, that without a rehearsal he wouldn't want to play a song to a paying audience, unless it was easy like a twelve bar. Some experienced players could play more than a twelve bar without a rehearsal. My point was, busking tunes on a gig is using your ears as well. Many do it all the time. Now, that might mean years of playing experience has helped in remembering many tunes, or they have good relative pitch, or a combination of both. To me that is playing by ear. But like you said, that is just my opinion.

[quote name='mikel' timestamp='1477290366' post='3161069'] No idea. I would never play a song to a paying audience without practice for the whole band. If it was a 12 bar then that would be easy. [/quote] Ear playing to me, is doing gigs without practise/rehearsal as well as learning tunes from recorded media. Turning up on a dep gig, knowing your stuff, busking a whole gig without messing up or playing 'clams'. Doing gigs with people you know, the singer turns round and just shouts out the key and off you go. Maybe this is what the OP is talking about? If so, it's not just musicians who don't read or don't know their theory that do this. There are many players on this very forum who read, know their theory, that also play 'by ear'. I should think most players use their ear - It's just that some actually know what they are playing.