skej21

As a huge Aggy fan, I'm very excited about this! Apparently, the cab is called the "SL112"

[quote name='silddx' post='999117' date='Oct 24 2010, 06:22 PM']I tend to agree with you there. The very fact you can't articulate a string bass with the same facility as an electric means you have to find "the music" to sound compelling.[/quote] I have to say that personally, this over-emotional and happy-clappy approach to bass (you have to find "the music" to sound compelling?!) just as disengaging and boring as the virtuosic fret-wonking morons...

[quote name='silddx' post='999057' date='Oct 24 2010, 05:27 PM']I'm appalled. Thanks for posting it ET, I have learned why I trust my ears, and why I ignore those who implore me to learn to sight read and learn theory.[/quote] Can I ask, how does learning to sight read/learn theory make you into a fret-wonking moron? I would just like to hear the opinion behind such a sweeping statement.

[quote name='arthurhenry' post='999024' date='Oct 24 2010, 05:05 PM']I made the post because I was interested to see if other bass players shared my opinion. I believe that's a valid reason to post on a bass discussion forum. I was drunk once, about 8 years ago, but have never taken drugs. I have heard 99% of Sheehan's recorded output and attended his clinics for 19 years. I have heard less of Wooten and Manring's output. I was specifically referring to the bass day type jam and perhaps should have made this clearer. Duets between two double basses can be great and some of the Wooten/Bailey stuff is nice too. The thread seems to have served the purpose of starting a discussion about multi bass jams and our likes/dislikes thereof.[/quote] I'm just suprised that you can attend 19 years worth of Sheenan clinics and listen to his entire output whilst sober. I'd have to have a good drink of whiskey, just to numb the pain of my bleeding ears!

I would rather cheesegrate my own face off (slowly!) than have to listen to a bunch of bass players playing a self-indulgent, fret-wonking jam. However, if we could find a way to get rid of guitards and replace them with a bassist who could fulfil the same functional role, I'd be happy with that!

[quote name='dood' post='996377' date='Oct 21 2010, 08:54 PM']Yup I have 10 million pounds worth of free cover included.[/quote] This would be dangerous for me. Everytime anyone shifty/drunk/moronic went near my gear I'd just be thinking 'It's alright if there's an "accident", the MU Public Liability will cover it :D'

Try this [url="https://niche.endsleigh.co.uk/Musical/"]https://niche.endsleigh.co.uk/Musical/[/url] you'll notice they also cover theft from an unattended vehicle, which sounds like a trivial/useless feature, but could prove to be a lifesaver! They also let you specify in detail, each piece of equipment you want to insure so that you can claim back the same thing if anything does go wrong

[quote name='Randy_Marsh' post='991685' date='Oct 17 2010, 09:47 PM']+1 I really like Flea and his slapping[/quote] I heard recently that even Flea doesn't like Flea's slap playing

[quote name='Oscar South' post='991683' date='Oct 17 2010, 09:47 PM']As long as there's a halfway interesting thread from it I don't care which way it goes [/quote] Hence the trolling; carefully and subtly hidden within my previous post

[quote name='Oscar South' post='991670' date='Oct 17 2010, 09:37 PM']That's a pretty powerful accusation[/quote] As is the accusation that Flea is the bassist that ruined slap, and not Stanley Clarke...

I think the reason I'm loving it so much, is that it's just my idea of a perfect gig. I get to explore new music that I've barely played before, I get to use skills such as sightreading (which makes the hours of practice come to life and feel worthwhile) and it's just a huge adrenaline rush when you nail some really tight, snappy passages first time! The musicians I've worked with have all been incredible too, and all really nice, modest people! I think I definately have the bug, and the standard of musicianship from the other pit players is really inspiring. Such a great way to gig and really satisfying when you're packing up/driving home. I'd highly recommend it

Musicals What do people think? Love 'em? Hate 'em? Have a favourite? Playing in the pit for one? I've found myself taking jobs in the pit for quite a few musical productions (good and bad!) recently including Hairspray, Lion King, We Will Rock You and Dreamgirls, and I'm having loads of fun with them, despite thinking they weren't "my kinda thing" musically before I started. Just wondering what the overall opinion of the mighty bass community is regarding musicals?

[quote name='TheGreek' post='991540' date='Oct 17 2010, 08:09 PM']So true...going by the Mick Karn thread I think that respect from your fellow bass players is equally important - at least till the time to pay the bills is concerned. Would you rather be a rich, talentless sh*t or a respected player with little cash? What ever happened to integrity?[/quote] We all sold our integrity to pay the bills!

[quote name='Jean-Luc Pickguard' post='991317' date='Oct 17 2010, 05:07 PM']I had a couple of these in the late 70s, but they weren't leather and I can't remember whether it had a buckle like that. Are you sure it wasn't cobbled together by someone? ie the fabric bit of a Fender Monogram sewn onto a plain leather one? I find the suede levys leather straps much more comfy, but for anything heavier than a mustang I'd get something wider. The Fender neoprene strap is supremely comfy, but not as vintage-looking.[/quote] It definately isn't cobbled together. It has all the original bit and pieces but is just wearing away from years of use

Another + 1 for the GS112! Aggy in general are great, and I would suggest that if you're already thinking about getting one, it's likely that you're already in love with them! Buy one and don't look back. Great gear!

Help me please! I appreciate that this probably a HUGE long shot (and somewhat trivial topic ), but I would appreciate any help from a fellow bass chatter! I currently own a Fender monogram strap and love it (don't judge me just yet!) but it's falling to pieces However, the strap in question is not one of the new, plastic-based, poor escuse of a bass strap. The strap I have is the fabric and leather monogram with metal buckle (picture attached below). I don't know exactly how old it is or how many of these were produced. It was given to me when I first started playing bass by my dad's friend who said he'd had it for nearly 30 years, and it was so comfortable that I've kept it and used nothing else ever since. Could anyone help me and/or point me in the direction of buying another one similar to this?! I can't seem to find one ANYWHERE! (If not, could anyone suggest a replacement please? Something that is not too bulky, but is also very comfortable!)

If the guy running the audition is a drummer, he'll want to see if he can play with you and see whether you can lock together quickly/tightly. The best way to win him over is if you play something simple with a solid groove. If he starts air drumming or playing on his knees/chairs/desk etc, you'll probably get the gig!

[quote name='JTUK' post='989808' date='Oct 15 2010, 11:30 PM']I don't like oblivious people with no ears[/quote] Nevermind oblivious ears... people who are oblivious to the very obvious "you're playing in my space AGAIN!" death stare! When will they take the bloody hint!

+ 1 that the money is in songwriting. Prime example is definately Oasis; "Noel had often joked to McGee that the whole Rock-and-Roll industry was built around one ambition - to own a chocolate brown Rolls Royce. Following the success of (What's the Story) Morning Glory, Creation Records held a banquet to thank the band. Bonehead, Guigsey and White received valuable Rolex watches, to Liam went a solid gold Rolex. Then came Noel [the songwriter], to whom McGee bequeathed the much-desired chocolate brown Rolls Royce."

[quote name='risingson' post='989766' date='Oct 15 2010, 10:44 PM']In that case, I'll play whatever way the great Elizabeth Windsor got taught to play. She's a mean fretless player ya know.[/quote] Yeah I heard that, but she has to keep it secret from Phillip... he just can't hold his tongue around that unlined Ebony neck!

[quote name='risingson' post='989753' date='Oct 15 2010, 10:39 PM']I got taught in quaters eights and sixteenths, most jazz players talk like this also on both sides of the pond.[/quote] Yeah sorry, I was trying to inject of bit of humour into this somewhat intense theory discussion... I'll get my coat.

[quote name='TimR' post='989729' date='Oct 15 2010, 10:30 PM']do you want to be on a course where people are being taught what a quarter note is during their first lesson?[/quote] Unless I was studying in America, I'd hope it was called a crochet

[quote name='stingrayPete1977' post='989716' date='Oct 15 2010, 10:17 PM']I have no grades at all nor can I read music (the same for many musicians if we are still allowed to call ourselves that?) and recently spent an evening with a very fine classical player who came to a blues jam with me a couple of years ago and said he wished he could do that,I thought he was taking the piss at first but he wasnt and he got me to go and show him the basics of the 12 bar and a few simple licks to get him started. I was amazed at what he could play if it was in front of him and literally nothing without! It was like some kind of comedy sketch. You cant teach rock its not possible ,Look at cold play and all that stuff,Middle class mushy rockers cant do a full on Metallica thing,They think they can and I have played with some top notch drummers that read symbols and all sorts of stuff but when it comes to the final rock out at the end,Nothing.....its not on the page.[/quote] Totally agree. That's why I urge my students to master as many areas as possible. There's a preconception that classical musicians can only read, and pop musicians can only busk, but as musicians we should master at LEAST both of these skills. I hate the phrase "jack of all trades, master of none", or "one trick pony"... Musicians shouldn't happily accept such stereotypes and should aspire (and be encouraged to aspire by their tutors) to master a range of fundamental skills, such as playing by ear/feel, reading, music theory and composition.

[quote name='risingson' post='989701' date='Oct 15 2010, 09:57 PM']I base it on long term experience playing with people that claim to be proficient under the guise of graded examinations. I studied to Grade 5 theory as I had to to go on and study music in Liverpool, but I only took the exam because I had to really. It's seen as an essential thing to have, but this I also believe was more to do with filtering out those with and without basic theoretical knowledge from my particular course (the wrong way to do it IMO).[/quote] To be fair, theory is like every other aspect of music. Some people put in the effort, practice and time and it underpins their practical knowledge and some people think of it as a hoop to jump through. Personally, I think theory is hugely important in making sure you have a solid understanding of your function within an ensemble, and more importantly, the musical impact your part has within a piece/composition. This maybe a personal view and down to my extensive theoretical study (Grade 8 [Distinction] and LLCM) I think theory is important, because every time I do anything theory based, I think about how it would be if I was playing it, whereas a lot of people think of music theory solely as an exercise on paper.