lowdown

[quote name='Marcus Müller' post='926140' date='Aug 16 2010, 08:57 AM']i know everyfin so I can help yu. weekness for me is der Rockabilly - but still do it gut. I is the best zlappist - pitszicartoist - arcoist, fretlessist I am wivouwt dowt ze best player here! Jaco and Francis was ma students, i teach them everyfin i know alll thoery and all johneras. not be afrait to ask for mi hepl!! i love everyone! even if you is a crapp bussist![/quote] I put it down to the night raids. Garry

[quote name='Bilbo' post='920047' date='Aug 9 2010, 08:50 PM']The piano solo at 1.00 is a doozy. [url="http://www.youtube.com/watch?v=VnrhE5ARc_w&feature=related"]http://www.youtube.com/watch?v=VnrhE5ARc_w...feature=related[/url] This is even better... [url="http://www.youtube.com/watch?v=H2fl1_kqsas&NR=1"]http://www.youtube.com/watch?v=H2fl1_kqsas&NR=1[/url][/quote] Love the remarks.. 1st Video[b]...".Nicely done, Sax player looks cool in the Panama, but the pianist appears to have a large insect on her head, I wonder if she knows..." [/b] 2nd Video[b]..."That rocks along nicely but the drummer and bassist are strangely absent."... [/b] Were you actually loading up your car in not so Proud mary? Welcome to the business of show, Bilbo... Garry

[quote name='bennyblu' post='925238' date='Aug 14 2010, 10:32 PM']Hi I am looking to buy a DAW, I have been using cubase sx for a few years but I am currently out of step with new DAW developments. What would people suggest in order to record audio based songs-acoustic guitars, vox and live band etc. I also like to compose using midi i.e. dance and soundscape tracks. Would two seperate DAW's be the best, one geared towards midi i.e. reason and one towards more audio recording i.e. pro tools or cubase and combining the two when necessary. I am pc based. Thanks in advance.[/quote] If you have been using Cubase SX for years, why not go for Cubase 5? Does everything Midi [as good as any other DAW] and Audio.[Has good Acid type beat stretching and a great media bay for bringing in loops etc to the project tempo.] It will be less of a learning curve for you, no different to SX so more time to make music. All the big ones do pretty much the same these days.Its just really down to the work flow of each one. Another thing to remember is what bundled plug ins and soft synth/drum modules come with each one. They all vary with that side of it. One thing to take into account with Pro-Tools [LE or MP] is the delay plug in compensation messing around, and the midi side of things is not so advanced as the other major DAWS.But getting better all the time. Link here for that stuff, worth a read.[Delay comp] [url="http://akmedia.digidesign.com/support/docs/Delay_Comp_PT_Host_Systems_33000.pdf"]http://akmedia.digidesign.com/support/docs...stems_33000.pdf[/url] I use Cubase [well Nuendo] and Ableton live 8 re-wired together [2 DAWS] and it works a treat. Just about everthing covered. You might get a good idea for things by going around the various DAW forums, that way you get the good. the bad and the ugly from regular users. Garry

[quote name='Chris2112' post='925255' date='Aug 14 2010, 11:16 PM']Shame he's loving the upright so much these days.[/quote] May be a shame for you, but some of us folks do like his Upright playing. Even though he likes to bash out School Days on it. Garry

[quote name='AndyTravis' post='923395' date='Aug 13 2010, 12:16 AM'][url="http://www.youtube.com/watch#!v=5jClzQJKfic&feature=related"]http://www.youtube.com/watch#!v=5jClzQ...feature=related[/url] Basically Stanley and many famous others get up and jam 'School Days'. They all take turns, which is cool, but some are more hit than miss. Sorry if this has been posted before. But i'm wrting a review as i go. [b]Stanley[/b]s own Intro Solo is a bit messy, he does some cool fairly typical stuff but doesn't really set the bar too high. [b]Flea[/b] plays a blinder - i feel he got pushed aside, but he boxes clever and plays a tidy little bit. Some of the names here are real musos, and Flea is seen by some as a bit of a joker, i think he more than proves his point here. [b]Armand Sabal Lecco [/b]plays some terrible un-musical slap nonsense, then does some weird 'told you so' thing with his bass - he's much better than this usually; a lot of players can do the fast rhythmic slap thing - he's better than this. [b]Bunny Brunel [/b]is a harmonic fiend, how does he do that?! His fingerstyle is spot on too; Great Player. [b]Alex Al[/b]. Not familiar with him, but starts really well - he's f***ing great, what a soulful guy. Great Slap, and tasty fingerstyle. [b]Billy Sheehan [/b]- ace, his 'bumblebee' thing works for me, such an un-typical bass sound, and the bends/pulls on the neck, he really stands out. [b]Stu Hamm[/b], a really nice nod to Stanley in his playing style. Nice Chordal work. Not a massive fan of his slap playing, too rubber band sounding for me. And the tapping stuff makes me feel a bit sick, but hey, it's his thing, so fair f***s to him. [url="http://www.youtube.com/watch#!v=WYUHsyqR76Y&feature=related"]http://www.youtube.com/watch#!v=WYUHsy...feature=related[/url] [b]Part 2[/b] [b]Jimmy Johnson[/b], melodic fingerstyle on an Alembic, what a tasty sound. The low slides he does are fascinating, a great sound, and a great touch. [b]Wayman Tisdale [/b]- First and foremost, this guy is physically huge!!! Obviously a talented guy, just find it strange that SC feels the need to help him along but not my mug of brew, unless he's reading. [b]Brian Bomberg [/b]- Buy a f***ing guitar. Whatever that noise is, i do not care. (If he's meant to fill in for a guitarist, then, i'm sorry for this comment, but still, get a guitarist in.) [b]Marcus Miller[/b]. Sounds like MM, over School Days, can't decide what i think of him at the moment. The Slap Duel thing with SC is sh*t noise. Did anyone see 'Billie Jean' by SMV? Great all the way through, then a shitload of 3 bassists slapping in 3 different styles. It's pretty offensive. Anyhow, a great mix of styles. Towards the end, it's a bloody mess. But, a mate sent me the link, thinking as a bassist, i'd be interested.[/quote] Phew...! you took that all a bit seriously. Imagine being the keys player on that gig, praying for a key change or even better - [b]THE CODA![/b].. Garry

If your dream Bass is about the colour , and you like playing the one you got [ that has been refinished anyway] Why not get that one refinished in your dream colour - it will be cheaper. Garry

[quote name='fatback' post='919494' date='Aug 9 2010, 12:28 PM']Nuendo is really nice. basically, it's Cubase optimised for sound to picture, great for soundtracks. Ableton seems to score highly for using in live performance for sequencing, but I found it a pretty alien way of thinking.[/quote] Another Nuendo [PC] user here - but i do work with post production and video files, so from that point of view its more usable for me than Cubase [ same Audio engine though] With any of the Steinberg stuff, its a good idea to see if you, or someone else can get you educational discount. It will save you quite a bit of dosh. On the other side my wife uses Didgital Performer on her Mac, and she loves it... Garry

[quote name='Vesalius' post='919139' date='Aug 8 2010, 10:59 PM']Just quickly - IMHO, in the example given, the a# in bar 6 is a musical spelling mistake. The harmony implied by bars 5+6 is clearly C7, and the a# should be written as bb. Altho' essentially a monophonic instrument, the bass does create the foundation for All the harmony, and having a sense of what chord is being used can be very helpful to the player. ...erm...if that's Ok with you? V.[/quote] I agree with adding chord symbols, for solo sections you dont want to be playing the same thing round & around. Although this tune is pretty basic chord wise. Garry

[quote name='Bloodaxe' post='919001' date='Aug 8 2010, 08:03 PM']Quirks? You don't know the half of it! I spent a good half-hour in Illustrator "fixing" Tux's PDF. The note stems were 0.06pt (0.02mm) wide (the same as the stave lines), the stops were vestigial & it has a deeply unpleasant habit of losing the demi-tail on an 8th/16th combination. I also cut off the tab, as it wasn't relevant here. I'm stuck with the triplets though. I'll guess that its PDF conversion engine revolves around the open-source Ghostscript, & that GS and Adobe Acrobat don't see eye-to-eye. I'm assured that it'll print hard copy directly just fine however. And it's free. A workaround is to use an additional free application called Lilypond. That kind of goes the other way for me & tends towards clutter, though it makes a better fist of the triplets than Tux, shows the stops clearly and shifts the dot a little further away from the note head. It's capable of making a royal mess of text though. Here's the 4/4 version as per Liliypond: I do like the timing info it gives in the tab - it'll show dotted notes there as well. I'd like a bit of a combination of the two programs - Lily's 'formality' plus Tux's configurability would be very useful. Thanks to Doddy & Gonzo for the Rehearsal Part nomenclature tip. Pete.[/quote] Writing in Jazz can get complicated - if its a 4 to the bar thing [or 2 to the bar] use 4/4 [ or cut time] and abb at the start of the part - IE Swing 8's etc. Another way would be to use dotted 8th note with a 16th at the end. This is usually the way you will see it written on gigs. 12/8 can be used, but very rarely.That would be good for shuffle blues etc. Possibly this way [attachment=56090:Good_Times_Roll.pdf] Or this Way.Or a combination of both. [attachment=56094:Good_Times_Roll_2.pdf] 12/8 Version as well. [ looks more like a 60's pop tune to me, and not swing like.. ] [attachment=56096:Good_Tim...oll_12_8.pdf] If you play Jazz charts on a regular basis both ways would look familiar. It gets a bit more articulated when writing Big Band charts, especially horn parts - adding duplets, and straight 16's etc. Jazz is about swing & feel, not reading [b]literally[/b] , so its always going to be harder for a novice reader to grasp Jazz reading. The old timers with beards - Erh... a different matter....Bilbo...! Garry

[quote name='RhysP' post='918537' date='Aug 8 2010, 08:45 AM']I'm a big fan Of Giblins playing too. However, in both the live videos you posted that's not John Giblin playing, it's Alan Thompson. He didn't play on the first Kate Bush album either. On "Wuthering Heights" it's probably David Paton. Kate used a wide variety of bass players - don't assume any fretless playing on her stuff is Giblin, it's just as likely to be Eberhard Weber or Del Palmer. It's definitely Giblin on "Babooshka" & "Breathing" though. Both absolutely brilliant bass parts.[/quote] +1 on all that. Giblin is a very lyrical player. Garry

[quote name='JTUK' post='917294' date='Aug 6 2010, 06:53 PM']All you need is a well-versed through-the-changes piano-player. That will sort your ear out.[/quote] Even better, learn some Piano skills yourself. Opens up a whole new world, chops and ear wise. Garry

Thanks Bilbo Garry

[quote name='peted' post='914389' date='Aug 3 2010, 10:35 PM']I use Audacity nearly every week to master my band rehearsal recordings and I can't see any way of doing what you intend to do. I think the only scale that Audacity will measure against is clock time and not beats/bars. I have done what you want to do very easily using Reaper on Windows and Ardour under Linux. Using a proper DAW you can set the BPM and time signature which will automatically let you break a song up and as stated before, setting snap-to-grid will allow you to repeat over those intervals (beats and bars). Hope that helps [/quote] Just had to download and see what the fuss was all about... Yes you can loop, and your are correct there is no snap to musical beats, only various time codes. But if you set your markers/labels on a label track - highlight in between labels on label track. Go to Transport dropdown and hit loop play or shift + space, then the section plays back looped. I set up a click track track, set at 124 bpm in 3/4 time and that gave me visual grid references to get exact musical time for the highlight. [ I had to zoom in to get accurate because you can not snap that way unless you do an accurate minute and second time calculation - You can then mute the click track during playback] [attachment=55684:Capture.JPG] Garry

[quote name='Bloodaxe' post='914278' date='Aug 3 2010, 09:03 PM']Not tried varying the horizontal scale (& it sounds like a really complex way of achieving a result tbh). As far as I can make out, selections will either snap to the nearest second or won't snap to anything depending on how your preferences are set. This limits its usefulness (not opinion, just fact). Ta for the thought though, Pete.[/quote] Hi Pete. Its not complex at all - its the way you set loop points in any DAW. If snap to grid is [b]on[/b] you can only loop at the set grid - IE bars/whole notes/8th notes/16th notes etc.Seconds or whatever. If snap to grid is [b]off [/b]- you can set loop points as loose as you want and lined up to your markers, or even transients, samples, milliseconds or time code 00:01:02 etc. Is there not a way to turn snap to grid off? Garry

[quote name='Bloodaxe' post='912286' date='Aug 1 2010, 09:39 PM']This doesn't seem obvious... What I need to do is: 1 - Load MP3 2 - Play MP3 3 - Add a Cue or Marker on each count of 4 (or 8 or whatever) to mark each bar of the tune 4 - Select & loop the bar I want so I can transcribe the bassline for that bar only 1 & 2 are no trouble. I can add a Marker (Ctrl+M) whilst playing the tune, so that takes care of 3. What I can't seem to do is get the cursor to snap to the markers so that I can select & loop the bar. Anyone? [Edit] Nothing in either the online help or the full 150+ page PDF help [/Edit] Pete.[/quote] I dont know Audacity - but it seems like you might need to de-select some kind of snap to grid function.Have you got the Audacity bpm set to the same tempo/bpm as the MP3? If not you will have to de-select the snap to grid if Audacity has this function. Garry

[quote name='garethox' post='908597' date='Jul 28 2010, 08:06 PM']He also wrote one of the most recognisable basslines ever in 'Another One Bites The Dust'.[/quote] I liked his playing....But if he carried on up the scale on that track, he would have wrote THE most recognisable bassline ever. 'Goodtimes' Good stuff though. Garry

[quote name='Captain Bassman' post='903549' date='Jul 23 2010, 08:38 PM']Certainly do! He played bass on Glenn Jones' fine album Finesse, around '84 I think. I was still noodling around on my old classical guitar, detuned and with 2 strings missing...! The album featured Wayne playing a cool slow slapped part on "You're The Only One I Love" - t'was one of the songs that drove me to buy my first real bass. I think the album was also produced by Wardell Potts Jr (the drummer on most of Shalamar's best known albums) and also had some input from a certain Leon F Sylvers. Can't go wrong there... RIP Mr Brathwaite and thank you. [url="http://www.youtube.com/watch?v=aO-L_Bgjoqg"]http://www.youtube.com/watch?v=aO-L_Bgjoqg[/url][/quote] That Glenn Jones track is great - stonking Tight Bass sound Good one. Garry

Does anyone remember Wayne Brathwaite? Around in the 80/90's and sadly went to play Bass upstairs a few years ago. He seems to be one of the session players from that era that dont get a shout around these parts.[quite a CV] I cant find much Youtube stuff with him on. But here he is with Herbie Hancock. Big Rich tone and groove sim to Marcus Miller at that time. [By the way not a post about Herbie going all Electro ] Garry

[quote name='JTUK' post='903092' date='Jul 23 2010, 12:34 PM']Never liked Phil Collins on drums either.. hate his feel and strike..too slappy..[/quote] I think Jimmy Page had the same opinion - did he not accuse PC of destroying Led Zepplin at Live Aid on the State side gig? A lot of these guys from original or their own bands seem to struggle playing in another situation. Unlike the likes of Will Lee, Anthony Jackson, Marcus Miller, Steve Gadd [ The usual LA/NYC session guys] As far as Macca is concerned, i always thought they were lyrical and well crafted Basslines, to well written pop songs at that time. Although i have never been a fan of his tone, [i liked better in the Wings gig] Garry

[quote name='SteveO' post='902997' date='Jul 23 2010, 11:28 AM']Watched an ad for an Audi estate last night. Nowhere was the word "Car" mentioned. I wonder how many people are wandering round in a state of bewilderment this morning wondering if it was a car or a van?[/quote] Or more importantly if they can get their Amp & Bass in the back. Good morning Norway. Garry

[quote name='Mr. Foxen' post='902301' date='Jul 22 2010, 08:17 PM']Does Paco de Lucia play bass?[/quote] Nah.... But he is a great Flamenco dancer. Garry

[quote name='Mr. Foxen' post='901735' date='Jul 22 2010, 11:14 AM']Playing with a pick so guitar.[/quote] So Paco de Lucia needs to use a pick then...? Garry

[quote name='steve-soar' post='901236' date='Jul 21 2010, 08:06 PM']Love him, or loathe him, Marcus has one of the most recognizable tones of any bassist. Listened to Julian Lennon on the car radio the other day, BAM, there's Marcus.[/quote] Was that 'Too late for Goodbyes' ? Has to be him. Garry

Marcus has very good fretless chops, Check out his solo on Friends and Strangers with Dave Grusin, Although i would not call it Jazz, its very lyrical and he was pretty young when he did it. Plenty of other Fretless stuff with MM knocking around. Garry

If it is the Hammersmith concert, i was at that gig and it was pretty amazing, not so long after that gig i got to see Marcus with David Sanborn band over at Wembley supporting Al Jarreau, and both bands had some pretty serious dudes that night. One thing i remember about both gigs was MM did not use so much mid scooping back then, and at the gigs the Bass sounded kin huge! Personally i preferred his slap tone back yonder [ although still pretty up there these days...lol]