velvetkevorkian

[quote name='Eight' post='499987' date='May 28 2009, 04:08 PM']Great posts guys. No bar lines makes a lot of sense to me. So I'll add to my reform of standard notation by removing them.[/quote] Its actually a nightmare to work with- my girlfriend did part of her music degree in editing German renaissance choral music- the kind of stuff posted above. As part of this I had to help her transcribe them into modern notation, and its impossible to tell where you are without counting notes or looking for particular figures. It's also a total PITA to do in computer notation. They did use breves (and some longer notes) though...

We're going through the unsigned competition to try and get on the Bloodstock bill- final is June 12th and we stand a decent chance hopefully.

I have two 5 strings (fretted and fretless) which set me back less than £200 for the pair. Good value.

Is that power amp one of the ones off Ebay from the US? Does it run on 240V or is there some adaptation required?

Which is why I prefer to use crotchets, quavers etc- bypasses the whole issue!

[quote name='MacDaddy' post='487755' date='May 14 2009, 12:09 PM']yes, but what are they an eighth of? An eighth of the bar? An eighth of the beat? Calling them eighth's is redundant, they are only eighth notes in 4/4.[/quote] They're an eight of a whole note (semibreve), in every time signature.

One of the best things I've found to help with this is to think of your fingers as being numbered 1 and 2, and say it as you play it; sounds very simple (and I'd recommend trying it in private cos it sounds a bit weird) but it gets surprisingly tricky, especially playing odd numbered groupings. It helped me with my 3 finger technique quite a lot.

Something I did wonder about- if you set it up as two separate channels (with separate ins and outs) could you run a lead from output 1-->input 2 to combine effects? Not sure how useful it would be, right enough.

Looking at the manual, I think you can only have one effect from each block at a time, so that would be a no, unless you can have 2 signal paths on at once; ie you could have filter and distortion on at the same time but not filter into distortion on the same channel.

If you want to do an "academic" music course at uni (ie classical analysis oriented) the ABRSM theory grades are worth going through. Anything else I'd say it really doesn't matter- there's not enough of a consensus in "popular" music styles about the different graded exams to make them worthwhile IMO.

Honestly, I'd really rather not. It really is heavy as f**k, and quite frankly, I don't want to get into the hassle of posting it. Sorry!

Ha they didn't have them with price tags on- if you have to ask I guess you can't afford it.

[quote name='iamapirate' post='474539' date='Apr 28 2009, 08:06 PM']As a haalf-decent bassist I'd say stear clear of Line 6 unless you like cheap, heavy metal chorussy amps [/quote] I would guess you're referring to the stand alone guitar amps- this is what my girlfriend's Spider combo does. A Pod is a different beast altogether.

Merchant City Music in Glasgow had these in when I visited recently.

Hi folks, have posted my old Peavey head in the amps forum- [url="http://basschat.co.uk/index.php?showtopic=47869"]have a gander[/url] In addition, I have a load (about 30 odd bags) of crappy soil/gravel that's come out of our garden sitting in bin bags sitting out back. Bit of a long shot, but if anyone has any conceivable use for this you're more than welcome to come and take it away as its going to take us forever to get rid of it. I'll even stick the kettle on. I'm in Glasgow, 2 minutes from the south side of the Clyde tunnel.

Any effect that runs at line level rather than instrument level i.e most rack effects units.

[quote name='Eight' post='470570' date='Apr 23 2009, 12:12 PM']Does anyone have any good exercises for creating independence between pinkies 2 and 3?[/quote] I only have 2 pinkies [quote name='Eight' post='470570' date='Apr 23 2009, 12:12 PM']E.g. on this exercise (one finger per fret - trying to keep all strings pressed as much as possible) -------------4---4------------- ---------3-----------3--------- -----2-------------------2----- - 1--------------------------1- On the lower frets, I struggle to place finger 3 in position without it dragging finger 2 over the fret wire. Any ideas? Or is this anatomical weakness. Edit: just noticed I can do it fine descending. So its just the ascending part I'm struggling with.[/quote] Assuming you mean fingers 2 and 3, I think it is just a matter or practising exercises like the one you've tabbed there- the 3rd finger is the hardest to get going independently but there's no magic bullet- just play shedloads of chromatic 1 finger per fret exercises. If you want some serious left hand muscle try Bass Fitness by Josquin De Pres (I think)- its a whole book of this kind of thing. Enjoyable? Musical? Not really. Its the bass equivalent of weight training. Alternatively, just try -------------4---1------------- ---------3-----------2--------- -----2-------------------3----- - 1--------------------------4- up and down the neck.

+1 They're very dry, and much for focused towards classical harmony/analysis IMO. The good thing about them is that they match up with the ABRSM graded theory exams.