scalpy

[quote name='Burrito' timestamp='1481199159' post='3190408'] I used to think more like this but I think a lot of it is because guitarists as a rule are more out going and bassists are more reserved. If you talk to the audience they will talk back. I used to moan in my main band about this but it was because the singer and guitarist were working the room after. I tried a bit harder and things changed. And throwing shapes on the bass looks awesome! In a mid life crisis kind of way for me, but an awesome mid life crisis [/quote] This is why I was the current gig for this week as an example. I'm the same person, I'm quite outgoing as bass player and do dance about. No comments, and no I'm not whining about it, just observing. I think the solo thing might have something to do with it, because nobody is commenting about the one other song I 'just' play rhythm on. As for upright, learning how to is on my to do list, but the theatre gigs I do won't let me use it in the pit, I've already checked!

To clarify, I'm happy bass playing, I don't mind being unnoticed, I do 80+ gigs on bass, all of my work repeat bookings pretty much. With this particular job however I was observing and commenting on how the two instruments are treated by the public. I was wondering why. That is all! (As an aside though my attitude to Panto is a pound earned doing that gig is the same as a pound earned playing jazz or a session or whatever and deserves as much attention. Buys my Christmas presents for another year.)

Got the annual Panto run this week. (oh yes I have) 80% of it is on bass, 19% is trying to get the audience participation going and there is one 8 bar guitar solo in a ballad. All I hear is guitar solo this guitar solo that. It was the same when I was playing in an originals band trying to avoid getting a proper job. I could probably count the number of new people who talked to me after a gig on one hand. I did two gigs on guitar and met my wife! Why are people so massively biased towards guitar? It can't be just the frequency range they occupy surely?

I just hope no one in the audience is familiar with Scott Devine's free lessons.

[quote name='TrevorR' timestamp='1480726238' post='3186817'] It amuses me that I grew up with the perceived wisdom that 70s Fenders, esp 3 bolt ones, were shoddy rubbish and to be avoided at all costs. But now they're old enough to be considered "vintage" and are therefore desirable and commanding a premium price... How times change. [/quote] Yep, and G&L were happily producing 3 bolts at the time with great results.

My wife says I look like an electrified scarecrow onstage. I've also picked up the habit of singing the basslines to myself. Suffice to say, in the right circumstances I can look like a right prat performing.

Rests are an occupational hazard for brassists, you're right. I once went a masterclass with the late great James Watson who said the parts for the Covent Garden orchestra were marked with '15 minutes' etc to allow them to do trips to the bar! As to the thread topic, I don't think an anacrusis is technically tied to the first beat of the bar and my old grade V theory teacher would have rapped my knuckles if I didn't subtract the value from the last bar.

This is useful and anything that features Robben Ford is usually worth watch- as is the monster stack of Trace kit if I recall. https://m.youtube.com/watch?v=Q-bxHMnbYI0

[quote name='paul_c2' timestamp='1479762892' post='3179135'] Ok, "wrong" is a bit strong and its not necessarily wrong to notate as the Enter Sandman example, but its definitely incomplete and without the rest of the music, its a bit difficult to properly judge. The fact that the time signature is 4/4 but the first bar has 1 quaver in it, isn't right unless the last bar has 7 quavers - but then its incomplete. And the double bar before the key signature is definitely not right. I'm happy to concede that there's sometimes different ways to notate something and the "rules" of music notation are flexible enough that sometimes something which at first appears not right, is simply "convention" rather than being strictly right or wrong. I guess so long as its clear and understood then its alright. And yes, the Espana piece is a complete pain in the arse to play, the notes are very simple but the number of rests, and the fact that the other parts playing are far from clearly defining the pulse makes it difficult. On page 2 there is another "desert" of 25 or so bars rest. The first time we practised it it was a dog's breakfast, some people were 1 bar ahead, others were 1 bar behind. [/quote] 25 bars rest a desert? Try being 2nd trumpet in the Mozart piano concerto. 100 bars in a block, no double barlines or similar. So you sit there in rehearsal going 89 2 3 4, 90 2 3 4 and the conductor will stop and go 'back to 10 bars after A' and you have to do it all again!

[quote name='TheGreek' timestamp='1479321983' post='3175672'] If you were ever in doubt that they are works of art: https://ritter-instruments.com/newsletter.php [/quote] Holy moly that's a crazy bass!

[quote name='Marsik' timestamp='1479248807' post='3175131'] Tweed is great when it's new! I felt in love with White Hot finish. [/quote] The tweed's holding up fine, I don't think it's the same stuff as old fenders for example. However I am getting footprints on the top of the tweeterless cab, which goes underneath. I'd suspect the white hot finish may be even more susceptible, so careful! Enjoy the cabs though, can't part with mine.

[quote name='warwickhunt' timestamp='1479243121' post='3175060'] I could swear that my DB112's used to have a 'pair' of Speakon connectors... are these very old or very new versions? [/quote] Mine are getting on a bit but have the same panel. Still swear the tweed improves the tone too.

There's a really useful video by Scott Devine on this one. https://m.youtube.com/watch?v=VmBy7XA0ceI For me it boils down to- reach pinky, slide to next note, cross string and repeat. Reverse for descending. As to why, it's always useful to be over capacity in terms of technique, it affords a degree of grace that is more pleasant to listen to. Think Ferrari doing 100 miles an hour rather than a Ford Focus. You cover the same amount of ground but i believe the former would be more graceful! If you want to hear this in action have a listen to the numerous play along videos springing up to Vulfpeck's Dean Town. They can play it, but Joe Dart's over capacity technique affords him the opportunity to put more inflection and style into the lines which gives it so much more life. (At least to the plays alongs I've watched so far, and if I did one I'd view my own playing the same way!)

On guitar duties I always preferred a compact valvestate 412 over the regular 1960a/b jobs. Nowadays I cringe at the thought of using a 412 full stop!

Seen the Demeter in the for sale section?

Never played 'cool' the same way twice on a show. Even if I've got it right someone else is out!

Someone on here said the formula for playing country was play as little as possible then halve it.

Try let's have lunch from sunset boulevard. Sounds like a simple walking part then you twig it's changing key and time signature all the time and it's nearly 10 minutes long!

[quote name='MoonBassAlpha' timestamp='1478631059' post='3170485'] It's such a shame they are playing at Cheltenham town hall again, the sound in there is terrible for loud amplified music. Last year it took most of the gig to get the sound half decent. I'd rather see them in the big tent thing, but I suppose they can't cram as many people in it [/quote] Fingers crossed for desk recall then!

[quote name='Mykesbass' timestamp='1478286617' post='3168242'] Here you go - lots in Swedish, but looks like there is some cool old footage in there. [url="http://www.youtube.com/watch?v=X9iuOXQaKo8"]http://www.youtube.com/watch?v=X9iuOXQaKo8[/url] [/quote] The most fun I've had watching a Swedish documentary with my clothes on. (I blooming love Tommy Cogbill too)

Cheltenham jazz festival tickets purchased. Very excited.

Based on Friday nights gig, better than the guitarist.

Had great fun doing Grease. The guitarists and I had a running bet on how many Zep quotes we could fit in. Guitar 1 took the prize when he opened his solo in Grease Lightening on the final night with a perfectly executed Black Dog riff.

Know it inside and out, apart from the bass lines! I do all the arrangements for the keys, horns and lots of the guitar parts, so write them all out by ear mostly. By that point it's normally time to go to rehearsal and the only part I haven't learnt is mine....