skej21

[quote name='essexbasscat' post='943883' date='Sep 2 2010, 08:14 PM']Wonder how many bands transpose this to C from C# ... T[/quote] I'm sure the last time I played this at a reading gig it was written with 3 or 4 flats (Eb/Ab) maybe? (Using Ab Mixolydian/Ab Major by alternating between G natural and Gb) It was a long time ago though. Can't really remember :S

[quote name='EssentialTension' post='900091' date='Jul 20 2010, 02:35 PM']Sounds pretty good, but has anyone else noticed how Ed Friedland manages to make every bass sound good? He [i]is[/i] the bass whisperer.[/quote] Is that because he appears to be making love to it? That must be his "i've arrived" face that he's using whilst playing!

[quote name='oldslapper' post='943815' date='Sep 2 2010, 07:18 PM']For me, the best is both. Study to broaden your vocabulary and understanding, but go listen to the locals talk. Study, listen and PLAY. Sorry about that, probably all clap trap,..........please ignore. John[/quote] + 1 Miles Davis was a HUGE Debussy fan and spent hours every day studying his compositions and the way he used modes to mould harmonic and melodic functions within music. This knowledge was then combined with the countless hours of experience that Davis had, and an entirely new Jazz form was born (Modal Jazz.) You always hear the phrase "thinking outside the box" and in order to do this, you need to know the box, so you can think outside. You also need to be able to ACTUALLY carry out your ideas once you've thought outside the box. Find a balance between experience and a musical understanding and you will be a well balanced musician IMO.

[quote name='Doddy' post='943714' date='Sep 2 2010, 05:59 PM']Joe-I totally agree with you about motivating the students to be the best that they can be,but unfortunately(at least around this area) a lot of people don't want to be the best they can,they are happy to settle for mediocrity. You can see the potential in them,but they won't put the work in.[/quote] I've seen this a lot with people in my area and amongst some of my students. They like to push themselves a little bit and then decide ego is more important. They all seem to prefer the comfort and recognition that comes with being a big fish in a little pond. Shame really.

OOOOH! I've always LOVED this; [url="http://www.thomann.de/gb/fender_75_jazz_bass_rw_natur.htm"]http://www.thomann.de/gb/fender_75_jazz_bass_rw_natur.htm[/url] Maybe second hand for £800? *wishful thinking* I've always found that the 75 RI with the rosewood neck is an elusive creature even at an unreasonable price!

[quote name='rmshaw37' post='943616' date='Sep 2 2010, 04:34 PM']what do you have and what sort of thing are you going for?[/quote] Ooops, that would be a good start. Currently have a 70s Jazz Bass, RI 50s P Bass, Aguilar GS112 and Markbass LMIII which is rackmounted alongside a Korg DTR1000. Also have the Aguilar TLC compressor along with flightcases/hardcases for all instruments and cabs from previous touring. Have NO idea what I'm after. Maybe another bass, another cab? I honestly have no idea! But it will be something fun no doubt. All suggestions welcome

Basically, I have just come into some money and need a list of things that I could buy but that could be easily justified to the other half (or hidden away! ) We're currently engaged and there's less than a year to "the big day" but this money was a bonus (see full details below) so she'll never know it was gone! YEY! I had about £950 to play with but I'm making the wise decision to give the other half £150 towards her wedding shoes as a 'sweetener' so she won't ask as many questions , so about £800 to play with [u]*insert boring bit*[/u] I came into this money through an insurance claim. My car was parked up overnight on the street where it always is and a taxi driver crashed into it (writing it off in the process) and drove away without leaving details, but luckily two witnesses took his details/a photo on their iphones (long live the iPhone!) and he has swiftly admitted liability. This meant a big fat cheque from his insurance company who have offered me enough money to pay for a replacement car and a year's tax, with the added bonus of the additional £800! (Big thanks to my mechanic dad sorting me out with a cheap replacement motor!) [u]*end boring bit*[/u] Obviously the sensible thing would be to pay off the insurance for next year too, but that would diminish what I think is a reasonable little 'pot of gold' So come on guys. Help me spend my £800!

[quote name='tom1946' post='942960' date='Sep 2 2010, 07:42 AM']I also hate 'brought' instead of bought. Classic and cool guitars website offends me when he remarks: 'much sort after' it's SOUGHT you idiot! What about 'proffessional setup'?? don't get me started.......[/quote] It's not even close to the people who write "you're" when they mean "your" and visa versa. I honestly cannot understand how people can do it! They would laugh if they had written in full and then read through it. For example, someone on my facebook had written this (needless to say, I swiftly deleted them!) "I was wandering [u]*that's another one I hate*[/u] weather [u]*and another!*[/u] your [u]*and another!*[/u] coming out on the weekend? [u]*cringe*[/u] I noticed that you left you're [u]*and again*[/u] school work on me [u]*how many?!*[/u] kitchen table, so I'll [u]*christ, that one is RIGHT!*[/u] bring it with me..."

[quote name='EBS_freak' post='942471' date='Sep 1 2010, 06:50 PM']I'd say that's a good reason to doubt - imagine you are on tour where spares aren't readily available. Surely you want an amp that can handle the impedance mismatch of blown tweeters to get you through the gigs? And Pete doesn't even play loud... what happens if you are in a band that does? Weak argument - the amp may protect itself which is great - but it could leave you in a right crappy situation.[/quote] No chance. If the amp is working and the cab isn't, just stick it through the PA via DI and use the monitoring system to hear yourself until you can get a new cab. I'd rather one thing blew and the other protected itself. Less money for you to shell out when replacing broken gear!

[quote name='lonestar' post='942422' date='Sep 1 2010, 06:00 PM']liking the new look though. Is she one of your new backing singers ?[/quote] No way should she be backing you! Get her up front and enjoy the show ... Ooops. Gig, I mean gig

Let's start a FACKING REVOLUTION! BASS TUTORS WHO TEACH GUITAR "ON THE SIDE"!!! ANYONE WITH ME?! No... Ok, I'll get back to being angry about guitarists stealing all the students lol *Shakes fist whilst staring out of the window and mumbling*

This is a great bass line. Purely because it shows how GREAT a bass line can be when you hold back a bit and try to be subtle and clever. Plus the playing in the middle 8 is brilliant (2:08-2:20mins)

[quote name='Born 2B Mild' post='942290' date='Sep 1 2010, 04:04 PM']From the land of large wardrobes comes... [/quote] This was clearly invented by a man without a girlfriend/wife.

You can beat them, but it'll probably kill it!

[quote name='Bilbo' post='942210' date='Sep 1 2010, 03:11 PM']Noone seems to understand the concept of deferred gratification and the benefits of long term study any more. Its all 'want it, have it'. That and the fact that most kids never see a live musician until they think its too late to learn (i.e. after their 16th birthday). I have watched a couple of Glastonbury/Leeds/Reading acts over the last few days and the playing of most of them is pretty poor. No lessons needed to achieve the dizzy heights achieved by the Libertines' bass player .[/quote] + 1 - Couldn't agree more. The standard of most "artists" these days comes down to how cool they look or if their hair cut is fashionable. Very few bands/performers can actually play to even an average standard these days. On the plus side, history tells us that most musical genres/movements will create an opposing movement (for example, the anti-virtuosic guitar solos of the punk era, followed by the shred acts like Vai.) Fingers crossed for 2011 and beyond!

[quote name='Pete Academy' post='942183' date='Sep 1 2010, 02:51 PM']Across the road from our shop is a music teaching school, where they do mainly drum, guitar and bass lessons. The drum and guitar teachers are busy, but the bass side is woefully quiet. I spoke to another guy who has a teaching school. Again, the bass side of things is poorly attended. Why is this? Is it because there isn't a bass 'icon' around at the moment, like (dare I mention) Flea, who the kids want to emulate? Are the songs that bands are playing easy enough for people to master on their own? Has the vast amount of tutorial material on the Web - Youtube in particular - killed off the need for lessons? Any thoughts from bass teachers out there?[/quote] Because when kids think of rock music and start to learn, guitar and drums are the cool instruments, bass is the boring one that the shittest guitarists play. You don't really change your view until a little further down the line and realise that bass/drums are where it's at, and guitards are hated by all. It's just a musical maturity thing really. Most kids think that you have to play guitar or drums to "wow" a big crowd. Most adults know better.

[quote name='starman' post='941329' date='Aug 31 2010, 08:13 PM']I've been playing bass with a band for about four months, we've been playing along to original tracks so far as at the moment we have no singer. I was given the task of looking for one and forwarded various mp3 tracks and details from about six interested singers onto my bandmates, who weren't interested in any of them without even giving them an audition (their comments were too cheesy/too heavy/not really us etc etc). Last week I found two singers that were going to audition, one changed her mind as she didn't like the material we were doing, but one had an excellent voice and would have been perfect. She asked if she could audition three of our songs and three of the songs she likes. I checked with the band members if that would be ok (as it was ok with me), of which only one replied saying she would probably want to do Celine Dion type stuff and to tell her no. I had already asked her what songs she would like to do and they were by Pearl Jam and Bon Jovi). When I forwarded this on to the band, they sent a really rude email back saying "If we have to play that stuff its over, tell her to poke it". So we are back to no singer again. The material we were playing was great at first (Motown, Bowie, Squeeze, Ace, Wild Cherry) but it's now getting too diverse (Dusty Springfield, Pulp and Ian Dury, Byrds, Buzzcocks, a song called Pirate Aggro by the Housemartins). I feel we need less diversity and to stick to more of a genre than be all over the place if we want to eventually gig. I've spoken to the band about this and they agreed, though nothings changed. Do you think I'm wrong? I'm 45 and bands are fairly hard to find around this area. Would you put up with it, keep quiet and play something you don't enjoy or quit and have no band? If you've read this far, thanks![/quote] It really comes down to you really and what you class as a reasonable balance. Are the gigs/band paying you enough money to make it worthwhile sticking it out and having no input? Do you enjoy it enough and feel valued enough to do it for free/expenses/small amounts of money/THE GLORY? If not, then there's not much point in playing for a bunch of people who don't value your opinion AND won't pay you the money you deserve for the job you're doing.

ANYTHING with block inlays. Like a moth to a flame...

The endings of songs are always fun. It's the one bit in a song that cheers my day up. Especially when you have a really mundane run-through for a reading gig and you find that one of the songs has a killer ending! The last time this happened to me I was playing for a production of "Hairspray" (which is good/cheesy, but has a lot of boring, BIG rock and roll style endings) and then got to the end of this and it totally rocked my world! Just one of those things that feels COOL as funk when you nail it first time with a huge ensemble

[quote name='Bilbo' post='941005' date='Aug 31 2010, 02:38 PM']My God! Thinking this through, I have just realised that I haven't gigged anything but my Wal and a Status Energy 6 for over 20 years and the Staus only went out half a dozen times! I played a Roscoe 5 when I tried out a Markbass rig at the Bass Merchant about a year ago but that was only for 15 minutes (no great shakes) and I have tried a couple of Warwicks but that was over 10 years ago. I tried an Alembic Epic at the Bass Centre in Birmingham around 1991 and a Yamaha TRB6 a couple of years before that in the Bass Centre in Wapping. Early on there was an Ibanez Musician bass I tried and a mate had a Fender Jazz custom job but I didn't like that very much. Maybe I need to get out more (actually, I don't try basses unless I am buying and I am never buying so why try them out ). So, in answer to the OP, I don't dislike anything really; I just like what I have and have no need to look elsewhere.[/quote] I'm in that boat, until I hear a Warwick and have a bit of spare cash. Then I get G.A.S, go and try one with the intention of buyng it and then realise I just hate the feel of them. I'll just stick to what I have I think!

[quote name='Mog' post='940046' date='Aug 30 2010, 03:53 PM']I've often been called a prick when using the 'wick. Gear snobbery to resentment in 0.9 sec. I'm more than happy to use the 'ol Hohner or Yamaha at any gig. The result will be the same.[/quote] It is at this point that you slam the headstock right into their face before stating; "Even the cheapest bass can break your nose as good as the best of them!"

[quote name='TimR' post='940035' date='Aug 30 2010, 03:34 PM']I thought it was the drummer that was wearing the t-shirt. Making some sort of statement.[/quote] It was the drummer who was wearing it. "Night of the gig he turns up an hour late and doesn't speak to anyone wearing a t-shirt that says "band needs a drummer."

I was just wondering if anyone else has this problem, or if I'm just a bit special. Are there basses that you want to love, but can't? I've found Warwicks are the biggest problem for me in this department. I've tried dozens and everytime I pick one up, there just seems to be something about it that I don't like and puts me off buying it. It's such a shame because I love the style and REALLY love the sound! (Mainly because of this) Does anyone else have this problem? Please tell me I'm not alone!

[quote name='risingson' post='939948' date='Aug 30 2010, 01:16 PM']I judge each case on it's merits, I don't think I care as much about what gear they play as it seems a little elitist. I remember seeing a band play a while ago, the bass player had a nice Spector, but it sounded dire, and his playing was pretty rough. After they were finished, the next band came up to play, the guy plugged this Tanglewood bass into the same rig and it just sounded massive, plus the guy was a monster player as well. Gear isn't indicative of how good you are, and I've often found that people with majorly expensive gear are sometimes only compensating for bad musicianship.[/quote] + 1 The saying my bass tutor used to come out with when referring to these kind of people was; "All the gear, no idea" Unlike Bobby McFerrin, he has "All the idea, and no gear"

[quote name='Mykesbass' post='939562' date='Aug 29 2010, 08:12 PM']Ok, having just watched Gloria Estefan on Hot Tub's 80's thread got me thinking - the 80's IMO stank for drum sounds and 80/90% of keyboard sounds. As digital technology was being introduced everyone thought they HAD to use it, often to dire effect. Guitars also suffered (not only in sound but all those pointy headstocks Meanwile, bass was doing quite well with the likes of Mark King, Mick Karn, Pino et al. Meanwhile, not so much from a playing point but from an audio point, bass in the 60's was really way behind. But that was the decade of the Hammond, Rhodes and Wurlitzer. I guess the 70's was pretty good for bass with some of the classic dance music (Chic, EWF etc) but that was overshadowed by great rock guitar and drum sounds. Load of old bullocks or anyone else care to pontificate?[/quote] Glad you found the Gloria Estefan interesting As for the 1960s/70s, what about the likes of Motown and Atlantic (and of course James Jamerson!)... I think it's a credit to bassists everywhere that nearly all of the decades have had room for cool bass somewhere!