lowhand_mike

not heard of him or her before but found this, and just wow [url="http://uk.youtube.com/watch?v=00fKuTD52gQ&feature=related"]http://uk.youtube.com/watch?v=00fKuTD52gQ&...feature=related[/url]

Bring on the trumpets! i think this is where i'm having problems, kinda like driving for years and picking up your own way of doing things and then trying to re apply the theory. bilbo i was kind of with you till the last bit, the Gb major bit but i guess if i saw the scale it would make sense. Trumpets!

there is also the fernandes Atlas, which looks more like a stingray copy but sounds more like a Precision even though it says it has switchable tones they really dont make much difference. quite nice and cheap though.

[quote name='The Funk' post='266905' date='Aug 21 2008, 10:40 AM']It would be the same note as an F, but harmonically speaking it would feel completely different.[/quote] within the context of the scale it is used?

[quote name='The Funk' post='266897' date='Aug 21 2008, 10:36 AM']Yeah, I'd say just start with the blues scale and major pentatonic. For some of the metal and hard rock tunes you play though you might find that those two don't work. Then you need to work out which notes work for those songs.[/quote] the bulk of the songs we play i work out by ear, i get bits from some tab which are normally 70% there but the rest are not usually available in tab and i find the notes to start on and the rest kind of fall into place, i guess that means i kind of know the scales just not in theoretical practice.

[quote name='dlloyd' post='266890' date='Aug 21 2008, 10:25 AM']That's where you will normally find them... but read on... I kind of hid it at the bottom, as I didn't want to throw too much at you at once. But, since you ask, yes you can. The way it would normally go is something like this: [b]Double augmented[/b] eg C to Ax, double augmented 6th [b]Augmented[/b] eg C to A#, augmented 6th [b]Major[/b] eg C to A, major 6th [b]Minor[/b] eg C to Ab, minor 6th [b]Diminished[/b] eg C to Abb, diminished 6th [b]Double diminished[/b] eg C to Abbb, double diminished 6th [b]Double augmented[/b] eg C to Gx, double augmented 5th [b]Augmented[/b] eg C to G#, augmented 5th [b]Perfect[/b] eg C to G, perfect 5th [b]Diminished[/b] eg C to Gb, diminished 5th [b]Double diminished[/b] eg C to Gbb, double diminished 5th Augmented/diminished 2nds, 3rds, 6ths, 7ths and their compound relatives (9ths, 10ths, etc) are unusual, and I suggest you don't worry about them right now. Double augmented/double diminished anything are also not too important. What defines the 'quantity' of the interval is the distance in 'letters' that the higher note is from the lower note. So D to F is a third of some variety, even if the context it is in is C major. So if you had a chromatic run which contained A#, A natural and Ab and wanted to relate them all to a lower D, you'd have an augmented 5th, perfect 5th and a diminished 5th.[/quote] waaah!! guess i asked for that so would a Gbb double diminished actually be an F? (Gb is also F#, so therefore a Gbb would be and F, 2 semitones/whole tone down)

[quote name='Sarah5string' post='266868' date='Aug 21 2008, 10:08 AM']What's diminished and augmented? [/quote] right lets see if i get this correct. diminished and augmented are the equivalent to sharp and flat (major/minor) but only used on perfect intervals. perfect intervals are the first(unison), fourth, fifth and octave of the scale the others are major intervals which can be made minor intervals (dont think you can make a major interval a major major interval )

[quote name='dlloyd' post='266614' date='Aug 20 2008, 08:57 PM']With an interval (the distance between two notes) you have a 'quantity' and a 'quality'. The 'quantity' is the number bit. Ab to Eb is a fifth. Ab to E is a fifth. Ab to E# is a fifth. A to Eb is a fifth. A to E is a fifth. A to E# is a fifth. A# to Eb is a fifth. A# to E is a fifth. A# to E# is a fifth. You get the picture? They're all fifths of some kind, even if they clearly aren't all equal. Because it's A 'something' to E 'something', it's a fifth of some kind. A B C D E = 1 2 3 4 5... it's a fifth. Ax to Ebb is a fifth. Abb to Ex is a fifth. And so on. The 'quality' bit describes what sort of fifth it is. The way the 'qualities' are named depend on the intervals that are found in the major scale We'll use C major, just so it gets rid of the sharps. First here's the 'quantities': C to C = unison C to D = second C to E = third C to F = fourth C to G = fifth C to A = sixth C to B = seventh C to C' = octave The 'qualities' of the second, third, sixth and seventh are called 'major' The 'qualities' of the unison, fourth, fifth and octave are called 'perfect' That seems stupid and unnecessary, I know, but believe me... there are very good reasons for those categories. Just accept it! Major intervals can be flattened to make them 'minor' intervals. So, while C to A is a major sixth, C to Ab is a minor sixth. Perfect intervals can be flattened to make them 'diminished' C to Gb is a diminished fifth. Perfect intervals can be sharpened to make them 'augmented' C to G# is an augmented fifth. You can also get diminished and augmented versions of major/minor... but I wouldn't worry about that for now.[/quote] right so diminished and augmented notes are based on perfect notes and minor are used for major notes? right? and i'm assuming you can't sharpen a major interval? (seeing as you didnt say you could) ah ok just realised something else, i was assuming that a 3rd or fifth was the third or fifth note in the scale, which i suppose it is but it's not strictly that, a third of fifth or seventh for that matter would still be that even if you took the major scale and then played it chromatically (oooh hark at him) as they would no longer be the 3rd or 5th note in the scale? in fact if you played it chromatically you would have several 3rds or 5ths yes? as you would have sharps and flats

[quote name='The Funk' post='266486' date='Aug 20 2008, 05:39 PM']Not from me, clearly! I'm the worst teacher in the world. That's why I don't have any students and try not to explain things to younger musicians. I just can't explain things in a helpful way at all![/quote] sorry wasn't ment to knock ya, i keep meaning to learn this stuff but never really get time to sit down and do it (sorry sarah it appears i'm hijacking here, though hopefully this stuff might help you) i get the 3rds etc now, and what does diminished mean then? is it just moved down the neck a bit (tone or semitone?) and augmented is moved up the neck?

[quote name='The Funk' post='266477' date='Aug 20 2008, 05:28 PM']Dunno if this helps or makes things worse but... 3rds on the whole are minor or major. A minor 3rd is 3 semi-tones above the root note. A major 3rd is 4 semi-tones above the root note. A scale or chord with a major 3rd is usually major (although it could be augmented depending on the 5th). A scale or chord with a minor 3rd is usually minor (although it could be diminished depending on the 5th). 2nds, 3rds, 6ths and 7ths are usually minor or major. 4ths and 5ths are usually perfect, diminished or augmented. Root note + minor 3rd + perfect 5th is a minor triad. Root note + major 3rd + perfect 5th is a major triad. Root note + minor 3rd + diminished 5th is a diminished triad. Root note + major 3rd + augmented 5th is an augmented triad. A major triad + minor 7th = dominant chord. A minor triad + minor 7th = minor 7 chord. You eventually get the hang of it all.[/quote] eh? man alive i need some lessons

bugger i just noticed that all that stuff about 5ths etc was posted just before my revelation and i didnt see that, had a nose and it fell into place, now i see it was put up as i wrote that post. doh!

a revelation!!! i have finally got what 3rd's 5th's are. what a twonk. the third or fifth note of the scale. yay. ok simple questions and its one i have just assumed, but the shape of the scale, say the major (i'm not talking TT s TT etc) i mean the shape of it on the neck. does that stay the same no matter where you play it? i have assumed it does and when played anywhere on the neck like this it sounds right but is it?

[quote name='dlloyd' post='266365' date='Aug 20 2008, 03:33 PM']That's fair enough. If you have no interest in theory, then there's little point in using keyboards to understand it. Relating theoretical concepts to keyboards really is the easiest way to visualise and understand them.[/quote] never said i had no interest in theory, just i have never done any, well i've tried a few times and just lost what was being talked about, i know the major scale as alot of the songs we cover are made up from that, or at least seems to be. if you were learning to drive a car you wouldn't talk about riding motorbikes.

[quote name='alexclaber' post='266348' date='Aug 20 2008, 03:13 PM']The argeggios focus on what is central to the bassline, without the fripperies of the non-chordal notes. Rather than mindlessly go up and down the scales, find the chord sequence to a song you like and then work on applying the relevant argeggios to each chord to create a bassline. Also look at the original bass line and relate that back to building it from the arpeggio. Focusing on scales as a bass player is as useful as a beginning drummer focusing on fills - start with the essentials! Alex[/quote] whats an arpeggio?

[quote name='Merton' post='266319' date='Aug 20 2008, 02:37 PM']A minor and D minor are the same as C major and F major respectively, starting on different notes... After F major, let's look at Bb major: Bb C D Eb F G A Bb and then G minor: G A Bb C D Eb F G So keep going up in fourths (er, one string up from previous note, same fret) in the major key to get to the next major key. Same for the minor keys. EDIT - dlloyd got there first! EDIT 2: and explained it better [/quote] nah you lost me again (been playing for about 15 years, never done a days theory in that time) [quote name='dlloyd' post='266327' date='Aug 20 2008, 02:44 PM']If you go from the C on the third fret of the A string, then go up the fret board playing every note at every fret all the way up to the 15th fret, you're playing the same notes as you would if you went from C on a keyboard and played every note including the black keys all the way to the next C... See there's no black key between E and F and between B and C?[/quote] yeah i get that but going backwards and forwards between keyboard and bass just get confusing, and seems pretty pointless to me. i',m learing the bass not piano.

[quote name='bilbo230763' post='266262' date='Aug 20 2008, 01:13 PM']I would say start with C major (no sharps or flats): CDEFGABC A minor (no sharps or flats) ABCDEFGA Then F Major FGABbCDEF Then D Minor DEFGABbCD Can you see a pattern developing yet?[/quote] ok my turn to be thick here, but apart from using the first 7 letters of the alphabet, er no i can't and i really dont get the use of the keyboard thing, i dont play keyboard, theres no black and white keys on my bass. just makes it more confusing

[quote name='Sarah5string' post='266235' date='Aug 20 2008, 12:49 PM']Wow.. that's a big'un you've got there Mike.[/quote] why thank you think that is the first and only time i've heard that

[quote name='johnnylager' post='266047' date='Aug 20 2008, 07:50 AM']This will do for a start [attachment=12451:JohnBassRig1.jpeg][/quote] thats exactly what i ment just didn't find a photo like that. that would get their attention at the CIU club

hehe, i've been trying that recently, they all seem the bloody same, does my head in.

dont think i have posted a proper picture yet and i'm STILL waiting to see the photos taken of our band. anyway heres me and me son

[quote name='bassicinstinct' post='266175' date='Aug 20 2008, 11:22 AM']I'm deeply ashamed to admit that I have, for many years, adopted a stance of total ignorance on all PA/Monitor related matters for that very reason. Works too [/quote] me too, i might help put the PA speakers up but generally i stay well away from all the knob twiddling, and i like watching the guitarist do it while getting more wound up, makes me chuckle.

i think this x2 would do me maybe with the klystron 1000 on top of it, basically 2 of the ASS 115's stacked and 2 of the ASS 212's stacked, bass wise a simple 2 band natural stingray, a zon, and maybe one of those ones that les claypool plays, a carl thompson

cheers jack saved me the massive 5 minute walk

[quote name='budget bassist' post='265601' date='Aug 19 2008, 03:49 PM'] how did you only manage £300 for that?[/quote] yeah i know, i was broke, we hadn't long had our first baby, we needed food, my freelance work had dried up (more on that in a min) so our only option was to sell something, obviously we didnt have much to see of worth and that was the only thing. we needed the money fast so i took it down to the local guitar shop and they would only give me that much, i knew it was worth more but had NO option but to take what he offered. on the freelance thing if we could have waited about 3 days i wouldnt have had to sell the bass, sh*t happens. really want another one as its probably the best bass i've ever played, though i'm never likely to be able to afford one again. (paid £700 for it second hand and it was absolutely mint) sniff a minutes silence please.

[quote name='barry44' post='265440' date='Aug 19 2008, 01:02 PM']have had clearance from the missus to get one.....[/quote] whats that then? nice, the playability of the SR's is really nice and i like the look of the feldy one, and getting the green light to mod is a nice touch and should give you a sweet bass. are you changing the pickups too?