lowdown

[quote name='essexbasscat' post='1036014' date='Nov 25 2010, 10:34 AM']there goes the Ozzie 'Can I kip on your floor mate'?[/quote] Shed ok? There might still be some decomposing muso's inside, I have not been in there for a while. Garry

Seeing as i live on Canvey Island, put me down..... Not all back to my place after though.... Garry

[quote name='Earbrass' post='1034072' date='Nov 23 2010, 04:22 PM']+1. Great played arco in the massed ranks of a string section, but seriously lacking as a rhythm section instrument when played pizzicato and alone.[/quote] Have you let Stanley Clarke know? Garry

[quote name='zero9' post='1033863' date='Nov 23 2010, 01:41 PM']The double bass. It's too bulky, the ear challenged player doesn't stay in tune, and needs to be amplified.[/quote] Fixed. Garry

[quote name='paul_5' post='1033358' date='Nov 22 2010, 11:11 PM']If you're not recording more than two tracks at once why not consider a small Protools setup. Reason being that if you nail [i]that[/i] take on a home demo and want to use that take in an eventual studio recording, then most good studios will be running some incarnation of Protools, and you can simply open your project on their machine. Also you'll be learning how to use industry standard software and getting to know what it can do , so that if you're ever recording in a bigger studio then you'll be able to make better informed choices about editing etc... instead of relying on the in house engineers. Just my 2p worth.[/quote] Not really true, As has been said above, using stems between DAW's is one way [and quite normal these days] OMF is another way...although some DAW's do have minor problems with this. [url="http://www.fileinfo.com/extension/omf"]http://www.fileinfo.com/extension/omf[/url] Or just Export the Audio files onto a Disc and then import. Saving as a Pro-tools session would let you use the Pro Tools plug ins, But then again a lot of engineers have their own preferences, and its not always Pro Tools plugs in, and more and likely Top gread outboard stuff. Another +1 for Digital Performer, but then again its all down to work flow really.... Plenty of people like Reaper. Garry

[quote name='Faithless' post='1032993' date='Nov 22 2010, 06:14 PM'][b]Hmm, that's strange[/b] - about year and half ago I was offered to dep for this show, and my friend who I had to dep for said it was 'easy indeed' to read, and, moreover, we would have had one rehearsal before the show.. Finally, I didn't get to see the charts, cuz there happened some misunderstanding, and other fella got the dep.. Oh, and did I mention that my reading was poor indeed at that time.. [/quote] The deal for depping on the ALW version for the rhythm section i did was...... Watch the particular chair in the pit for two shows, take a copy of the pad, video of the conductor carving [if you wanted it] and mini disc of the show away and learn it.When you were ready your first show would be a 'baby sit' - [The dep would play, and the regular would sit behind and prompt the conductor cues if needed] not a nice situation for both. It is harder for the deps than the regular, in some situations sitting in a dark pit, no amp,at the mercy of the carver for cues, just headphones and feeling all alone. Of course there are easier situations, shows like Grease where you just get up on the riser and play grooves. So i understand what Bilbo means about 'asskicking'.. Garry

[quote name='Bilbo' post='1025675' date='Nov 16 2010, 11:41 AM']I didn't know he had it in him!![/quote] Surprising aint it. David Cullam was his arranger and sorted all his stuff out. I did 2 tours totalling over 2 yeras and the DVD/CD of JCS for Webber about ten years ago. The first tour had a two week rehearsal period, and we needed it! Great blow and some good toon's though. Enjoy... Garry

[quote name='pumkinkin' post='1027078' date='Nov 17 2010, 05:02 PM']this will probably be reiterating something you already know as it's somewhat the gold standard in slap training but you might check t[b]ony oppenheim's slap it! [/b] i'm not a big fan of slapping myself but this is quite useful and i could even say i like both playing the examples and the way they sound. you can find some samples at [url="http://www.slapit.com/"]http://www.slapit.com/[/url][/quote] +1 Its been around for years, great stuff. Garry

Done plenty of good sales on here with some real good people. Infact of late the book.... 'Know your theory and learn to sight read while holding down one hell of a mother of a groove, with bonus section, swing your ar#e off. - all in five minutes' by Biblo... was posted and sold in thirty seconds..! result. Garry

TM Stevens is a Funky player who seems to slip through the net. This is more a Funky Disco track, but great Bass line and TM doing his thang. Garry

Many moons ago a Drummer friend of mine took a phone call from an engineer in the early hours of the morning, 'could he take a bass drum up to the studio' and overdub a kick track. There was a final mix down due at 10.00am and he was in a panic, the producer had gone home the night before very happy with everything. During clean ups, the engineer had erased the kick! The track........ Knock on wood - Ami Stewart.. Garry

[quote name='Rasta' post='1021486' date='Nov 12 2010, 02:36 PM']I wanted to hump the daughter of a husband and wife guitar duo, so we got a crap band together where i played bass....by which point the daughter had found someone else - i then changed bands [/quote] Why did you not just try and hump her mum? Then that would have been a great introduction to rock & roll. My mum and dad got me an upright when i was fourteen, they were getting pi##ed of when i kept dropping my oily trombone slide on their new carpet.That was a bad move, i was then making holes in it with the DB spike. Garry

[quote name='Vibrating G String' post='1021095' date='Nov 12 2010, 10:26 AM']When I was at BIT many many many years ago the first 6 months of the 12 month program on reading used no pitches, it was rhythm only. Just tapping with your hand or a stick trying to internalize all the possible rhythms. I like this approach and when I learn a tricky new piece from notation I tend to tap it out first and then come back for the notes.[/quote] There are two Louis Belson books which are great for this, and both well worth a look. 1] Modern Reading Text in 4/4: For All Instruments by Louis Bellson 2] Odd Time Reading Text: For All Instruments. [url="http://www.amazon.co.uk/Odd-Time-Reading-Text-Instruments/dp/0769233724"]http://www.amazon.co.uk/Odd-Time-Reading-T...s/dp/0769233724[/url] Amazon and all the usual places. Garry

[quote name='chris_b' post='1020202' date='Nov 11 2010, 03:09 PM']Overrated? Good grief!![/quote] +1 Opions..! just kinda overrated in my book. Garry

[quote name='lojo' post='1019831' date='Nov 11 2010, 10:57 AM']Is that an advanced AABA jazz structure ? [/quote] No it's when the someone gets lost in 'So What'... Garry

Disco - melodic with a regular bass beat... Wiki i think. Or was once written at the top of a Bass part i had on a strick tempo dance competion... [b]Foxtrot tempo, muted, played with pick ala 'Bert Kaempfert style'... [/b] By the time i had read all that lot the tune had ended.. Garry

[quote name='skej21' post='1015606' date='Nov 7 2010, 07:47 PM']Why is it theory VERSUS groove. Surely I'm not the only bassist on here that can do both, and at the same time? In fact, it's impossible to groove without theory and it's impossible to understand theory without being able to put it into practice. You have to at least understand SOME of the theory (even subconciously) behind how a bass works/how your fingers produce the sound in order to groove, so your argument is fundamentally flawed. This thread might as well be called "Trolling versus Sh**stirring, which one is best?"[/quote] +1 now thats grooving! Garry

Weh Hey Bilbo - good one.... Like the tight harmony on the horns. Great track. Garry

I always thought Macca was a melodic and lyrical player with creative lines, and a good ear. Garry

[quote name='Bassassin' post='1013107' date='Nov 5 2010, 11:29 AM']I remember reading that McCartney claimed he made a specific decision [b]not to learn to read & write notation[/b], because he felt knowing the rules would adversely affect the way he wrote.[/quote] That might explain why George Martin did a lot of the arrangements and string writing on some of the lavish productions. I think he was known as the fifth Beatle. So back to what Endorka said. Garry

[quote name='skankdelvar' post='1012396' date='Nov 4 2010, 06:31 PM']But just imagine if Squire's career falters and he has to take dep gigs. Say, with a Barbadian steel band or a Ragtime combo.[b] Without the dots, that would be him finished.[/b][/quote] Nah...he could join a Yes tribute band.But then again he might be to old and image challanged. Garry

[quote name='Stingray5' post='1009060' date='Nov 1 2010, 10:01 PM']though not a movie as such -- "Band of Brothers" (Michael Kamen).[/quote] A lot of really good underscoring, but the main theme is fantastic. Garry

[quote name='risingson' post='1006407' date='Oct 30 2010, 03:10 PM']Anything Thomas Newman has scored, American Beauty, The Green Mile, Road to Perdition, Shawshank, etc.[/quote] Yep he is my fave at the moment - Really emotional writing, and he can get out there as well when needed. Garry

Turn left at the 'Crossroads' and i am down the end of 'The long and winding road' Garry