lowdown

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.

[quote name='GarethFlatlands' timestamp='1477240385' post='3160788'] Well the trombone is pitched to Bb so you're playing a Bb when the sheet music tells you it's a C. I never got why brass instruments did that, used to drive me nuts when I played trumpet. [/quote] I thought you only transposed the Trombone when written in treble clef (tone up), like British Brass Bands do? Otherwise it's all Bass clef and not transposed? Or have I got that wrong?

[quote name='mrtcat' timestamp='1477231330' post='3160711'] It's all about context though. A band with bass, guitars, drums, keys and two vocals using track to add a little something on a big arrangement like a 70s disco tune is completely different to one man with an acoustic guitar using tracks for bass, drums, keys, horns, electric guitar etc etc. [/quote] A sensible, professional view.

[quote name='dmccombe7' timestamp='1477051805' post='3159524'] Probably quite a few but 2 that stand out for me is the bass riff from mid section of Tom Sawyer by Rush. Just a catchy little riff that sounds great at that particular section of the song and then there's the bass line from Elton Johns Nikita which just has a nice mid punch and gorgeous tone. Not even sure if it is a bass or a bass synth but i like it. Dave [/quote] Yes, lovely tone and excellent playing. David Paton on a defretted Musicman. I love how the line develops and builds. [quote name='funkgod' timestamp='1477054687' post='3159550'] Has to be the one that made me pick up the bass in the first place 35 years ago, and the one i still aspire to, Squib cakes. [url="https://www.youtube.com/watch?v=pvJH0x1CTho"]https://www.youtube....h?v=pvJH0x1CTho[/url] a track on my all time fave album Tower of Power Back to oakland, my daughter has just found a mint copy for my birthday, iv now got the old one framed in the studio. all the Inspiration i will ever need is contained right there. [/quote] One of my favourite all time albums as well. I still have my Vinyl copy upstairs somewhere. Apart from stunning playing from Rocco and David Garibald on the album, the Brass and Wind Harmonizing is top dollar. [media]http://www.youtube.com/watch?v=RlLVRGb7g7Q&index=3&list=PLG2na-qjU_4qSht7FO2LYmIk9ZWjuNLv8[/media] Oh go on then. [media]http://www.youtube.com/watch?v=E7T5rVp6hWA&index=5&list=PLG2na-qjU_4qSht7FO2LYmIk9ZWjuNLv8[/media]

[quote name='Dasher' timestamp='1477053328' post='3159536'] I have it, mainly because it is synced to a StudioOne 16.0.2. Having said that I have it, I "think that I have it" as I use Studio One 3 'Artist'. It isn't exactly 'free' but comes packaged with Presonus hardware and it is certainly a light version of 'full'. From what I have seen and used of it so far, it would appear that the only place that my version is really lacking is on the Mastering side. The Presonus learning resources are, as has been mentioned in an earlier post, readily available and they certainly helped me find my way around it. I'm new to DAW use - but have had 20 years using a Roland VS 880. It's a very different world but I've not found the SW too difficult to work with. I've definitely not got the results that I'm looking for yet, and use the Presonus Tutorials frequently, but I am getting there. One thing that I have noticed is that, in the Roland world, I made good use of the in-board effects in the expansion pack but I'm already thinking in terms of buying a good rack mounted external reverb unit (and probably more). [/quote] Normally between this time and Christmas, including Black Friday, Presonus do really good deals. Usually the upgrade from 'Artist' to the Full version is heavily discounted - Keep your eyes peeled.

[quote name='ahpook' timestamp='1476961304' post='3158799'] I know two professional composers - they do adverts, TV soundtracks, corporate stuff, all kinds really...all in the box. Not a real instrument in sight. It's just easier and faster to use software From what I've seen the majority of folks don't give a hoot about the individual components of a piece of commercial music, if it hits what the client wants then you get paid. [/quote] This really. Also, on Film and bigger TV budgets, producers and directors like to have an idea of what the cues are going to sound like before the final sessions on the scoring stage or in the studio starts. That way no time and money is wasted changing or rewriting cues and charts. Software midi mock ups are very big business with some exceptional, expensive libraries knocking around. Indeed, some of those mock ups end up making it onto the final music soundtrack. Virtual Instruments have been around for years, nothing has changed, other than another Bass VSTi has turned up to play on your gig. Most of the music you hear on TV drama is software recorded, with the occasional 'real' Instruments added in. The 'ModoBass' is physically modeled as well. Pretty cool piece of software. [media]http://youtu.be/xHaTzEC8XmI[/media]

It's equally in the programming (after performance), also real time key switching for articulations and of course, thinking how a Bassist would play. The 'Modo Bass' is just fine. Sure soloed, it's clear it's Sample patches. But layering in amongst an Orchestration it would be very passable. I believe our very own Bubinga5 was sucked in by the 'Scarbee Musicman Bass' on a 'Incognito' track, until someone came forward to point it out. I must admit, it sounded pretty good, very musical. But then again, it was played an programmed by an outstanding Musician who knew what he was doing. Just like any real Instrument, it depends who is on the end of it.

[quote name='Jazzjames' timestamp='1476891632' post='3158190'] Ray Brown on Night Train - Oscar Peterson. Great feel, note choice, and a super solo! He really made the bass sing. [/quote] Haha... Been listening to that a lot today. My older boy was transcribing Ray's lines and the solo from that tune. Lovely Bass tone as well.. In fact, superb stuff all round from some of the masters of swing.

The intro to this tune reminds of the intro to Jumpin' Jack Flash.

[quote name='Mykesbass' timestamp='1476733496' post='3156828'] Not round this way - they only want Eddie Calvert tribute acts [/quote] He was playing James Bond themes before they were even written. http://www.youtube.com/watch?v=KHtlZucvfmk

[quote name='ambient' timestamp='1476782332' post='3157115'] For 'normal' playing it'd be Anthony Jackson. His playing on everything is amazing [/quote] He does have a habit of taking your breath away. Superb, I never tire of listening to him. Even after all these years, I still hear things from him that will floor me.

[quote name='SubsonicSimpleton' timestamp='1476778987' post='3157074'] [url="http://www.instituteofbass.com/subscribe/sample.pdf"]http://www.institute...ribe/sample.pdf[/url] which has pages and pages of rhythm variations, set your metronome to a slow speed and pick a page at random [/quote] Similar to the Louis Bellson 'Modern Reading Text in 4/4'. The LB book has triplet and tied note variations.

Just love Anthony Jackson on the Michel Camilo track 'Not Yet' (New York Band). Jaw dropping moment for sure.

[quote name='AdamWoodBass' timestamp='1476719449' post='3156632'] It is yeah and I have been put in embarrassing situations before where I've taken a gig last minute and not been able to read the charts. Sometimes you can get away with it because the band may be almost entirely made up of deps so you can pretty much busk it as long as you already know the tune. Other times you're playing with the band leader and they're listening to every note you play because they're deciding whether to book you again. They know you're not reading the chart so you don't get called back. Like I said before it's a bit of a source of embarrassment for me! [/quote] Fellow Basschatter, 'sixist', has a whole bunch of real world charts for a tenner donation (Great value). A great selection of various styles that will keep you busy for a while [url="http://www.sixist.co.uk/transcriptions.html"]http://www.sixist.co...scriptions.html[/url] These would be very helpful for practise from what you have been saying. They are all well known tunes and would give you good practise workouts with plenty of varying rhythms, keys and chord sequences.

[quote name='Mykesbass' timestamp='1476702333' post='3156368'] Didn't quite mean it that way, not matching the fee but upping it. [/quote] Do you mean approaching a bar manager with a poster in one hand (of your band supporting at Wembley stadium)? while blowing a super 'C' on a Trumpet being held with the other hand (Maynard Ferguson style)? That should work. I agree with you.

[quote name='AdamWoodBass' timestamp='1476704106' post='3156394'] That's pretty much my thought process. I guess I'm just wanting to make sure I'm not investing a lot of time into the wrong things. [/quote] [size=4][font=arial,helvetica,sans-serif]Yes, I agree with Burns-bass as well. [color=#222222]And the next level should be (for good ear practise and pitching), put the transcription straight down onto paper/iPad or whatever, without the use of an Instrument.[/color] [color=#222222]Sing what you are transcribing, or listening to (ok, the voice is an Instrument, I know). Maybe you might not get the correct key centre (unless you have perfect pitch), but if you can get the intervals for the notes/chords down or close, [/color]it does wonders for developing your relative pitch (regarding ear training and busking).[/font][/size] [size=4][font=arial,helvetica,sans-serif] [/font][/size][font=arial, helvetica, sans-serif] [/font]

[quote name='ras52' timestamp='1476690204' post='3156213'] and the bass clef version I learnt was the less-than-satisfactory Good Boys Deserve Favour Always. [/quote] And when I was at College it was, Greedy Boys Deserve F**k All.

[quote name='ambient' timestamp='1476639898' post='3155880'] Sibelius, and sometimes pencil and paper. [/quote] Although I have to use Sibelius for work, I much prefer Notion since they introduced handwriting recognition. It works an absolute treat. You can use fingers or stylus for input of notes and articulations. I think it might have been you, Ambient, who was enquiring about this type of software last year sometime. If I remember right, it was Staffpad and Surface pro though? I take it you didn't go down that route? Notion is good for integrating between iPad iOS and the desktop version. Mac or PC.

I am from the Quill, Ink and Gas light days as well. These days I use iPad Air and Notion iOS for transcriptions. I can also do it on my travels. I save it all in the cloud and revisit when needed. Or print off, send as PDF etc. http://www.presonus.com/products/Notion-for-iOS