dlloyd

To give an idea of how many transcriptions there are in this file, there are 11 categories of standards: 1. Blues 2. Standard Form AABA 3. Short Form A1A2 4. Short Dated Form 5. Latin 6. Unusual Form 7. Modal 8. Double Form 9. Standard Form with Expention* 10. Waltz 11. Ballads (*Is that supposed to be 'expansion'?) If you, for example, go into the Standard Form AABA category, there are a number of songs to choose from: Ain't Misbehaving Close Your Eyes Confirmation Crazy Rhythm Dream a Little Dream The Duke Easy Living Exactly Like You Have You Met Miss Jones Hi Fly Honeysuckle Rose I Can't Get Started I Got it Bad I Hear a Rhapsody In Your Own Sweet Way It Don't Mean a Thing Lady Be Good Lover Man Lullaby of Birdland Mean to Me Moanin' Mood Indigo A Night In Tunisia Oleo On the Sunny Side of the Street Perdido Robbins Nest Satin Doll Scrapple From the Apple Softly Sophisticated Lady Squeeze Me Stars Fell on Alabama Stompin' At the Savoy Sunday Sweet Lorraine Take the A Train Taking a Chance Teach Me Tonight There is no greater Love These Foolish Things Undecided What Is this Thing Called Love Willow Weep For Me Woody 'n' You Yardbird Suite You And the Night. Many of these have transcriptions from more than one bassist. If you go into 'Oleo', you find it's subdivided into a number of other tunes that have the same chords (Rhythm Changes): [b]I got rhythm[/b] Slam Stewart George Mraz [b]Oleo[/b] Percy Heath Paul Chambers Niels Pedersen [b]Who's got rhythm?[/b] Leroy Vinnegar [b]The Theme[/b] Niels Pedersen [b]The Jeep is Jumpin[/b] S Heatley [b]Red Cross[/b] Niels Pedersen [b]Moose the Mooche[/b] Niels Pedersen Ray Brown [b]Thriving From a Riff[/b] Ron Carter Niels Pedersen [b]Anthropology[/b] Ron Carter [b]Cotton Tail[/b] Mike Moore Ray Brown [b]With Respect[/b] Niels Pedersen It's kind of biased towards Niels Pedersen transcriptions, but I can live with that!

I've struggled with walking for years... the theory is pretty easy to understand, but applying it can be a different matter, and the tendency (for me at least) is to play repetitive and fairly unimaginative R, 3, 5, approach lines that get tired very quickly. I've been actively working on it for the last few months and have started to see some real progress, mainly through studying other peoples' lines. While the likes of Ron Carter and Ray Brown do exactly what's described in books like Ed Friedland's (for the most part), they frequently do it in ways that I would never think of doing... even though what they're doing is simple [i]in theory[/i]. Some of the older recordings are difficult to transcribe as the bass can be buried in the mix. The Aebersold recordings are fairly easy to manage though. This link was posted on Talk Bass a while back and I can't recommend it enough... [url="http://www.bluewailers.com/temp/bass_lines_on_jazz_standards.zip"]http://www.bluewailers.com/temp/bass_lines...z_standards.zip[/url] What it is is a zipped collection of bass lines in Finale format (so you'll need to download Finale Notepad if you don't have a version of Finale installed). There are hundreds (if not thousands) of transcriptions of lines from the likes of Ron Carter, Ray Brown, Niels Pedersen, Paul Chambers, etc.

I'm looking to buy a Fender Jazz in the next couple of weeks. I was quite interested in this Highway 1 Jazz, and mailed the guy asking whether he could wait two weeks for payment... [url="http://cgi.ebay.co.uk/Fender-American-Highway-1-Jazz-Bass_W0QQitemZ250441333093QQcmdZViewItemQQptZUK_Musical_Instruments_Guitars_CV?hash=item3a4f777965&_trksid=p3286.c0.m14&_trkparms=65%3A13%7C66%3A2%7C39%3A1%7C240%3A1318%7C301%3A1%7C293%3A1%7C294%3A50"]http://cgi.ebay.co.uk/Fender-American-High...%3A1%7C294%3A50[/url] He never got back to me, so I didn't bid, and the bass went for less than £300, which is a fair deal less than I would have been willing to spend. So why did it go for so little? Was it the photos? or the guy's limited recent feedback? Or is that just the going rate for Highway 1s and I was over-estimating?

[quote name='razze06' post='512299' date='Jun 12 2009, 05:07 PM']Hello Folks So i'll be in Miami for work and then holiday for a couple of weeks. It's the storm season, so i expect to have some time off from lying on the beach (tough, I know, but hey...), and was wondering if anyone knew of some interesting music gear shop in the area... I'm not looking to buy anything in particular, but you never know, with this weaker dollar an'all... Any recommendations welcome :-)[/quote] Bass Central is a bit further north in Orlando. Not exactly a stroll from the beach though.

[quote name='horribleman' post='512245' date='Jun 12 2009, 04:07 PM']I've got terrible GAS for a nice jazz bass, and I have a lovely 4H Sunburst ray. If I were in luck and there was a trade to be done, what kind of jazz (fender and other makes) would you guys consider to be a fair swap in terms of value?[/quote] Probably an American Standard 4 string.

[quote name='WHUFC BASS' post='511763' date='Jun 12 2009, 01:41 AM']Anthony Jackson - what a boring fat c*** he is. I'd rather LISTEN to paint dry that read an article by him.[/quote] He comes across as someone who's not nearly as clever as he'd like people to believe.

[quote name='51m0n' post='508982' date='Jun 9 2009, 01:08 PM']Really? I do, very obvious the fretless just doesnt have the brightness from the string hitting the fret, back in the day you used to get the odd fretless bass with a brass slap plate at the end of the neck, partly to take the wear and save the fingerboard, but also to try and get that added zing to the slap. Nice![/quote] Looking at my bass last night... right enough, there's some wear to the cyanoacrylate on the E string side of the fingerboard. It's difficult to tell exactly what happens when I'm hitting the string, because the movement is so fast, but I [i]think[/i] it is hitting the fingerboard.

The main reason I ask is that I get no discernable difference in the thumbed notes when I play fretless. Popped notes are a different matter!

[quote name='51m0n' post='508395' date='Jun 8 2009, 06:05 PM']WRT to speed vs force. I did say you need enough force to strike the string onto the fret,[/quote] Is that really necessary? I always thought it was the action of the thumb hitting the string itself that sounded the note...

[quote name='Thunderthumbs' post='507894' date='Jun 8 2009, 12:38 AM']Could be that you're not releasing your thumb from the string quick enough, therefore creating a harmonic with your thumb.[/quote] Yep. I won't pretend for a moment that I'm an expert at slap, but I do a fairly good impression of it as long as it's simple stuff like Ashes to Ashes. The movement pretty much all comes from rotation of the wrist. The trick is in keeping the wrist loose enough that the thumb bounces off the string.

[quote name='Born 2B Mild' post='507617' date='Jun 7 2009, 05:54 PM']I have long fancied having a 1970s Jazz Bass as a cherished classic to keep, come what may. It's no doubt a yearning rooted in nostalgia. I first took up bass in '73 and first gigged in '75, and the sunburst jazz bass was my pin-up at the time. What I would appreciate some informed views on is this... Do I try and find an original of the 73 to 75 era, or do I use the equivalent budget on a modern day quality luthier-made version? Maybe you've had both and can share your experiences?[/quote] If you get a custom built bass built to the specs of a 70s Fender, you'll still want the Fender.

[quote name='urb' post='506704' date='Jun 5 2009, 10:45 PM']Hey guys I just wanted to say I'm keeping up with this thread (just) and have been passing bits of info onto Nick, and hopefully the feedback you've all been given will result in more new ideas filtering through into the mag. I agree with the general comments about the gear reviews, so if there's a way to make them more credible then I think that's worth pursuing. To be honest I'm so busy with other stuff all this is really in the hands of Nick and the publishers, but I'd love to see it keep improving too. Cheers Mike[/quote] A column similar to Rich Appleman's theory column in the early days of Bass Player would be fantastic.

[quote name='deaky' post='506616' date='Jun 5 2009, 08:30 PM']Hi guys, Just a quick question bout the above pedal. Ive been doing some research on this pedal on good old youtube but its mostly all demos of electric guitars using the pedal. Is this pedal for bassists too or just guitar players?? Also does anyone have this pedal who would be able to give me an honest opinion on it.. Cheers Deaky[/quote] It's really for guitarists. I had the deluxe reverb version and, while it worked great as a preamp for guitar, it really wasn't up to much for bass. Nor was it any good for DI'ing. What were you wanting it to do?

[quote name='wateroftyne' post='506391' date='Jun 5 2009, 02:42 PM']I think what went on there was a little more litigous than the discussion about quality control in BGM we're having here...[/quote] I mean specifically in terms of making a link between his position as publisher and the coverage of his band. It's entirely possible it's all a 'coincidence' and there's no conflict of interest that might affect the credibility of the magazine...

[quote name='EBS_freak' post='504819' date='Jun 3 2009, 04:30 PM']Check out the name Montgomery-Swan in the front of the magazine... it will become more clear as to what's going on.[/quote] I haven't bought BGM in a while, so I googled the name. I found out that: He's publisher of BGM as well as several other magazines. He's in a band called Swans in Flight. He has a history of threatening legal action against internet discussion forums when his name is mentioned in a negative light. [url="http://rib.net/forum/showthread.php?t=8968"]http://rib.net/forum/showthread.php?t=8968[/url] I suggest we tip-toe away from this topic.

[quote name='steve-soar' post='505139' date='Jun 3 2009, 10:35 PM']Tell us. [/quote] I think she was being a smart-alec It was the Tychobrahe Parapedal that they used (unless I'm barking up the wrong tree). Although it was referred to as a 'wah' pedal, it was a bit more than that and didn't work or sound quite like, say, Vox or Crybaby wahs. I don't know if it's the same pedal that Mr Foxen was referring to, but Chicago Iron market a clone of it called the Parachute... [url="http://www.chicagoiron.com/parachute.html"]http://www.chicagoiron.com/parachute.html[/url] It's not cheap! [quote name='Chicago Iron']Chicago Iron has painstakingly re-engineered the famous 1970's Tycobrahe Parapedal circuit with exacting detail and precision. You can tell a Parapedal when you hear one. It is the one with the huge sweep and a phaser-like or synth-like second effect that tracks with the first wah tone. The circuit has a built in volume dive that no other pedal has. At the end of the heel stroke, the pedal creates a loss in volume and brightness that has to be played to believe. It swells your sound with a combined sweep that is very human-like. It is referred to as a wah pedal but it is so much more. Many recording artists of the '70's fame used one back then. There is not another pedal that sounds like the Parapedal and it is unfortunate that such a small amount were produced- hence it's value as a players and collectors item! The Tycobrahe Parapedal was unique in that it used two pots to create it's own incredible wah type sound. The Parapedal was made in the mid seventies by Tycobrahe Engineering and has become quite a collectors item, that is - if you can find one. They were made in such small quantities that their value has sky-rocketed. Ask any vintage effect dealer for one(if they can find one).[/quote]

[quote name='Crazykiwi' post='504474' date='Jun 3 2009, 09:57 AM']In the event of any disagreement between you and a Moderator or Administrator, you agree you shall not disclose the nature of these disagreements to any third parties.[/quote] Yep, why is this necessary, and what exactly does it mean? It's kind of vague... Does it include in pms on this forum? In general conversation on another forum? Off line?

Just to illustrate the fact it's the combination of humidity and temperature that is the problem, there was dew on my lawn on Friday morning, despite the fact the temperature did not fall below 10 celsius the previous night. It's just that it was humid enough that the outside dew point was around 11 C. It gets far more humid in a practice room than it does outdoors in the North East of Scotland.

[quote name='GM10' post='502107' date='May 31 2009, 09:38 AM']Thanks for the responses, they've helped me to look at things from a different angle. I was originally thinking more just temperature than humidity. There will definately be poor air flow in the room which will, as you've suggested, cause damp. If I were to use a humidifier and a std electric heater, would this solve any damp issues and enable me to hang my guitars rather than put them in cases?[/quote] It's not ideal. But it should avoid problems with condensation. It shouldn't be necessary to run a dehumidifier (not a humidifier) constantly... there was a thread here a couple of months ago about the effects doing that can have on electricity bills. The key time to dehumidify would be for an hour or so after a rehearsal/practice (when the humidity will be at its greatest), and timed to come on when the room is likely to drop below the dew point, so perhaps an hour or so each night. A small, thermostat controlled heater would also help, and I'd make sure you had some way of monitoring what temperature extremes your equipment is being subjected to. A cheap thermometer with a max/min function should be sufficient. The best bet would be to store your instruments in the house in their cases.

[quote name='velvetkevorkian' post='501835' date='May 30 2009, 06:45 PM']I honestly can't recall- it was passed around in a lecture, I can't even recall if we actually listened to it or not. I think the simplest way to do it would be to just change the speed but no doubt there's a good reason for it...[/quote] Was that at the Royal Academy? I have a few friends who studied there.

[quote name='Lfalex v1.1' post='501488' date='May 30 2009, 11:02 AM']Bodies vary, too. Trans finishes are invariably Ash. Solid colours are Alder, and potentially Poplar under darker finishes.[/quote] It's not that clear cut. It was the case at one point that you'd find different woods under opaque finishes, but more recently it's been ash on everything. Scott Ball said on the Ernie Ball forum a few years ago that they'd used ash on 99.9% of Stingrays for the last ten years... [url="http://www.ernieball.com/forums/music-man-basses/6353-select-hardwoods.html"]http://www.ernieball.com/forums/music-man-...-hardwoods.html[/url] Of course, that doesn't include SUBs, which were poplar.

[quote name='velvetkevorkian' post='501228' date='May 29 2009, 08:51 PM']Also, on a similar note, I saw a piece by Brian Ferneyhough which was in 4/12. That just about caused a riot when I queried it over on TalkBass.[/quote] I read the original thread... pretty funny. It's an irrational time signature. It could probably be notated differently, but whether it would be simpler to do that for musicians who are familiar with contemporary classical... I don't know. The beat is a twelfth of a semibreve, so it's the same as a quaver triplet. Notate it as (4/3)/8? What note values did he use?

[quote name='BottomEndian' post='489720' date='May 16 2009, 12:23 PM']Ladies and gentlement, I submit to you [url="http://cgi.ebay.co.uk/Fender-Squier-reliced-Fretless-Vintage-60s_W0QQitemZ280345425992QQcmdZViewItemQQptZGuitar?hash=item280345425992"]the worst relic job I've ever seen[/url]. Custard appears to have been involved in the process.[/quote] What is that yellow stuff? Compare with this... [url="http://www.talkbass.com/forum/showthread.php?t=546110"]http://www.talkbass.com/forum/showthread.php?t=546110[/url]