lowdown

How do you fix the Cowbell on?

Lovely playing. Well articulated and very fluent.

If you have either Cubase or Studio One, both have decent tools for this. Cubase has VariAudio and Studio One has Melodyne. Although, Melodyne is a cut back version, but it works great on Mono Audio files. Both are used after the fact. VariAudio is excellent. Not only pitching to any percentage within reason but also controlling vibrato speeds etc. It can also create harmonies from the original file. Also, 'Waves Tune' is on a deal if you use the code: CREATE40 It works out at $35.99. Waves Tune Vocal Pitch Correction Plugin | Waves The Sound On Sound review is very favourable as well. Waves Tune Real-Time (soundonsound.com)

Thanks for the share. He's certainly a character..!!

I think most major DAW vendors have free tutorials up on YouTube these days. They would be silly not to really with all the competition out there. Steinberg: (373) Cubase - YouTube Presonus: (373) PreSonus Audio Electronics - YouTube

This is what I like about 'Basschat'... variation..!! Personally, I'm here just here for the Lee Marvin tribute act posts.

Ah, okay. I just used the F5 through to F10 keys for opening those various browser windows. One thing I think is a bit clunky is Midi learn for a controller. In Nuendo, I just right click on any knob/slider or parameter in any VST/VSTi and then click 'midi learn' and it's done. Although, I have just seen a video from that Gregor bloke showing a few steps for a Global set up of midi learn with a controller. Enjoying it so far and in the process of putting together some extra Macros for large track count management for my Orchestral libraries. Another plus is the neat score editor for midi editing. Very fluent.

The great 'Gene Chrisman played Drums on quite a few tracks on that Jake Bugg Nashville album as well. He was a top studio player years ago and played on a lot of great southern/mid west sessions. Quite a CV including Elvis, Aretha, Dusty Springfield. The list is endless. I know he is getting on a bit but, he's still playing by the looks of it. Here he is this year with Dave Roe.

I had some time this week, so decided to get stuck into both St1 and Notion. I'm blown away with the drag and drop work flow in ST1. Plus, the articulation management for sample libraries they are using is top class. Music symbols, articulations and music dynamics all combined under their system that they call ' Sound Variations'. Very easy to use and works a treat. The way ST1 deals with Track Presets is very good as well. Certainly saves time when hunting around for stuff. This morning, I noticed a new tutorial video on the PreSonus YouTube channel. Part 1 of two on drag and drop: But

Very loud, very confident and very right...Otherwise, why bother? If you get 2 out of 3, questions start to get asked.... ****

On that documentary video, Joe Zawinul said that when he composes, or when he improvises (because he composes after improvising - his words), he has in mind the musicians tone/sound who he is writing for. 'A Remark You Made', is a perfect example of that.... Jaco's tone and feel really shine out. Everything about him sings on that track.

It may well be a picked Bass Guitar. Also, there seems to be quite a lot of processing going on. My oldest lad informs me that 'Tom Robertson' has played Bass in Jake Bugg's band for about six years, so there's a good chance it might be him. I must say, I really dislike the sound of that blokes voice. In fact, it Bugs me...

Thanks for the link. I will be watching this later tonight.

What I found interesting in the video I posted is not so much the note choices or feel, but their different physical approach. NHOP is very relaxed and smooth...Ray looks like he's grappling with a Bear...🤣 A transcription of Donna Lee...

My early excursions with Double Bass meant I was listening to a lot of NHOP (and Ray Brown). Loved Niels playing although, I preferred Ray Brown's tone and Swing. Of course, both very different players in technique and style.

I'm with you, Dad. Although, the chart in your original post is not a good example. This Bassist below, nails how easy it actually is and that it has probably been overcomplicated over the years (just my opinion of course). Although, I appreciate the view of the shifted or, displaced 8th note and accent examples, that just doesn't feel natural for me and, a bit too much hard work... I'm not saying this example is right, it's just the way I have learned and played it in the past... with the first three notes of the phrase as a pick up bar of 2/4 (or pick up phrase). View in full screen (if you are remotely interested...)

In that case, surely it's Blue, not Fireglow ?

Great player... R.I.P I remember owning one of his tutorial books many moons ago. 'Jazz Riffs For Bass'.

Back in the day, when I had a good listen to the isolated track, I noticed this as well.

Yes, I did. Actually the tutorial video I mentioned had the links underneath. The colouring of large track counts, and placing them into folders and related busses etc was what initially pricked my interest. Dom has some decent tips and tricks on his own and the Cubase YouTube channels.

I was hoping someone else would post it... Sir Thomas was responsible for some very funny moments. He had terrific wit. Thomas Beecham Quotations (46 Quotations) | QuoteTab

"Don't look at the trombones; it only encourages them."... Richard Strauss. "Have you heard any Stockhausen?" Sir Thomas Beecham was asked. "No, but I believe I have stepped in some."

I have been a Cubase user since the late 90's ( Nuendo the last couple of years). Although I consider myself a power user, I'm still finding new surprises quite regularly. A couple of days ago I learned how to use the Logical Editor for the first time... Now, I'm not sure how I got by without it. Dom Sigalas did a tutorial on the benefits of it's use earlier in the week. Steinberg have a 40% off for Cubase Updates & Upgrades this month.

Excellent writing and playing all round. Although, the note value probably seems to be 8, I need a calculator to work out how many of those 8th notes are in the bar and making up the metre signature... EDIT: It looks like someone has gone to the trouble of working it out: "For those wondering how to count it, it's a bar of 5/8(2+3), then a bar of 4/4, then another bar of 5/8(3+2 this time), and it just repeats those three bars, 5/8, 4/4, 5/8, 5/8, 4/4, 5/8. You could call it 18/8 if you wanted to be quirky, but practically, that's how to count it..." I will take the posters word on it...and many thanks. 👍

Yes, the whole band are using stands. I'm not sure it is a gimmick though, otherwise the snare drum and hi-hats would be all over the floor.