lowdown

[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]

[quote name='Pete Academy' post='890260' date='Jul 9 2010, 11:18 AM']Nobody really had a sound like that before him. I'm not sure what bass he used initially - probably a Fender -[/quote] Defo a Jazz Bass , very much a sound of that time on those type of tracks. Over driven and squashed compressed. Bit like this sound. Garry

Great player who ever he was. Some debate over the years as to who it was. I thought it was Mark Adams, some suggest Buddy Hankerson . But hey who knows - great whoever. Great post by the way. Little debate from last year here, with a [b]couple of decent videos[/b]. [url="http://prince.org/msg/8/306920"]http://prince.org/msg/8/306920[/url] Garry

[quote name='blackmn90' post='889541' date='Jul 8 2010, 02:23 PM']cheers guys, the music union one[/quote] Calling it the Music Union is pushing it a bit. But it does have its uses. [ well has for me in the past] Garry

[quote name='Bilbo' post='887302' date='Jul 6 2010, 01:53 PM']I think it was mostly a product of its era (50s/60s) and is probably still lingering around in certain areas of the US.[/quote] Very much that i think. In fact the World cup winners of 1966 were referred to as "The England Football Team" And that is a term still lingering around these days. Garry

[quote name='OldGit' post='886190' date='Jul 5 2010, 11:54 AM']Is he tyring to play the bass line from tabs?[/quote] He might not be reading tabs - you can not tell from the video. He might be reading penthouse, that might explain the clams he is dropping. Garry

[quote name='Crazykiwi' post='885744' date='Jul 4 2010, 07:52 PM']Re: bass used, I wondered if it might have been a two pickup Gibson of some kind played on the bridge pickup. Didn't sound warm or crisp enough for a Fender.[/quote] I am sure i read somewhere in the past that it was a Gibson Les Paul Bass [borrowed] But hey who knows. Some geek will come along soon and fill us all in with what strings etc [ i hope so.. ] Garry

[quote name='Oggy' post='883890' date='Jul 2 2010, 12:47 PM']I do wonder sometimes though - I thought perhaps it was a secret or I'd discovered the Holy Grail. I just love to hear those ‘metronome player’ that have a problem playing just before or after the beat to give a tune life. Oggy [/quote] I know what you meant, dont worry.. Garry