lowdown

What a strange thread, tearing Guitarists a new one? I think there are three Guitar parts on Car Wash during the chorus' and verses. The intro has a couple of tracks playing Wah-Wah lines and another playing the high stops. Possibly the main line that the OP is talking about is just double stops. Root + Minor third, then Root + Major third. That part is panned on the left hand side, then there is a part panned on the right hand side and there might be another one in the middle, unless that is a Rhodes or whatever. (That OP chord consisting of Flat 7th/Major 3rd/Octave Flat 7th sounds odd to me. Maybe a reading Guitarist will pop in, who plays the tune and tell us the right notes...😁 Original Key below...I have snipped from the wrong point in the score - Bar 3&4 should be 1&2 and Bar 1&2 should be 3&4... (Minus the slurs and articulations). This is from an old score. Actually the full score, with the full Orchestration.

Marcus laying down Bass on a Gordon Goodwin Big Phat Band track.

Ah...That Guy was right on the money...

A legendary night. I was at that gig, (the recorded one), an amazing night of musicianship. Nathan East, Ricky Lawson, Bobby Lyle, Patches Stewart, Charles "Icarus" Johnson and a few others (names escape me). The support band during the first part of the evening... David Sanborn, Marcus Miller, Steve Gadd, Hiram Bullock, Don Grolnick... Two amazing bands for the price of one. It didn't get any better than that! 👍

A very usable sound design Synth... 'Iris 2' by iZotope. This is free with any purchase at PluginBoutique. There is plenty of stuff under a fiver there if you have a nosey around. Link... https://www.pluginboutique.com/articles/1494?gclid=CjwKCAjw7anqBRALEiwAgvGgm2bM_10xo_eIEmqU-S1YKDUFxLbztqQmqfV_j8NCpatn3wN3P5-VAhoC6ZQQAvD_BwE

That's exactly what someone from TB would like...

I've tried to stay away from singles on this thread but, Nathan Watts is so 'on it' on this track...

I got this when it was first released, It's terrific. The great David Foster on Piano. Marty Paich arranged the strings as well. David Paich (Toto) is his son.

I went the other way. I did the crossgrade from Cubase 9.5 over to Nuendo 8. This was a few months ago, when Steinberg also had the promotion push with 50% off software products. I think I paid about £165. The down side was it made my Cubase license invalid. You can open old Cubase projects in Nuendo, so no problem. I'm just about to upgrade to version ten of Nuendo and that is £171. So, all in all, not too bad to finally get to version 10. Cubase and Nuendo are both in a very good place these days with some amazing features.

I use the UR-RT2 as well (although with Nuendo 8). As 'Sibob' said, all Interfaces these days will be compatible with Cubase... But, are you talking about how the UR-RT2/4 Integrates with the hardware Rack in the Cubendo Mix Console? (If not, just ignore my ramblings and carry on...). "The UR-RT4 handles zero latency monitoring via a software app (dspMixFx), and this also incorporates a suite of plugins. The first two can be applied to the input signal prior to recording or simply used as monitor effects. One nice feature here is the Channel Strip which includes a single knob ‘sweet spot’ feature for quick adjustment of EQ and compression. Much like the UR44 there are DSP limits - one amp plus two mono channel strips or four mono channel strips. Even so, it’s a great feature and more impressive when used inside Cubase, as all this functionality falls under the True Integrated Monitoring banner and is accessible via the hardware rack in Cubase MixConsole."

The only things you should really need at a Jazz Jam are, your Bass Guitar and a pair of ears ( maybe a tuner and a lead). If you don't know many tunes, or are not so good at the old busking duties, take a Fake book. If the house band use a Double Bass, they would let you use that (nearly always). It's less hassle and less time consuming than waiting for players to set up their own gear. In reality, the best bet is; check out before hand if you can...

Same as with David Sanborn on some of those 80's and early 90's films. Like this one...(I think it may be Laurence Cottle on Bass).

As a working musician, having good relative pitch is more useful. To identify the intervals on the fly is what makes for good busking, along with retaining chord structures in your head. If you have that together, you can busk most working situations. Plus, if you can remember most of the classic & standard Bass lines, you are tailor made for stress free depping. Over the years, finding good readers to dep has mostly not been a problem, but trying to get players to walk in and cover a gig without a pad on the night, or even in advance has been sometimes, less successful. If you do both (read & busk), even better.

I really like some of Marcus' early slap stuff, right on it groove wise and very clean. He has great time and musical with his note choice.

I'm not sure that part is quite right (Well, the Bass isn't). I suppose because of the lack of 'E' in that first chord it could just as easily be 'Dsus4/A Bass or, of course, A7sus4 (omit 5). The Bass doesn't play the first down beat of the Bar, so their is no F# Bass in the chord. The second bar there is an F# Bass in the chord. On the PDF sketch score below, from bar 23 onwards, the Guitar parts will explain more what is going on chord wise. Certainly a lot of F# against G happening within the chord(s), along with some lines consisting of 4th's. Quite clever really. This is why @blisters on my fingers isn't hearing a root note (only inversions). Because, maybe there isn't any root note. It's in the Key of D (2 sharps for sure). Plus, I can't here a 'B' note anywhere in the Bass, as in that chart above? I have attached a full PDF sketch score below (from years ago). It's not properly formatted, rests missing, wrong drum notation heads and all in concert etc. But this may help. One In A Lifetime.pdf Plus here is the two bar Bass line (it just sounds like a loop all the way through).

I did both in my early teens, practising technique and using my ears. It just seemed like a natural thing to do and went hand in hand for me. Learning theory early on, was relatively easy, because I was enthusiastic and keen when I was Thirteen...Plus, it was a way into the school Orchestra, which was jam packed with girls.

When he first appeared in the mid 80's, I think it was was one of those mouth open moments for a lot of musicians (his Guitar was tuned in 4th's all away across as well, IIRC). The late, great, Wayne Braithwaite was on Bass on a couple of tracks on the 'Magic Touch' album. That album was also #1 for about a year in the Jazz albums in the States.

More AWB - The groove builds all the way through. Great tune as well.

I've been using Cubase since before it was invented... If you do decide to go down the Cubase route, I would consider NickD's advice above. The UR 22 (and the mk11) are excellent. Also drivers for the device are updated regularly, quite often after a big windows update as well. For the DAW software, the upgrade path is pretty decent as well. It's a shame really, because Steinberg had a big 50% sale on all software recently (70% for Nuendo 8). It only ended a couple of weeks ago.

Plenty should get this easily, it's certainly the right day for fighting over it... Michael Barrymore would give it a thumbs up.

Defiantly... If not, get Animal in on the gig. He'll nail it.

Yeah, I agree about the cross string approach, and also when slowed down you can pick out those open notes.

Not my transcription below, but worth showing the Drummer. It sounds like he is counting the first note of the Bass solo as one, when in fact, it starts on the upbeat of one. I have had the misfortune of depping in a band when the runaway train was doing something similar by the sound of your story. The guy who transcribed the below chart has written up a little brief on how to nail it accurately.

Not Mare Fingle then?