skej21

One question. Warwick endorser but photo with a Fender in both your basschat pic and twitter pic. Did you record that with a Fender too?

Saw the soundcloud on twitter earlier dude... Great playing!!

Having started (and read) this thread, it's raised more questions than it's answered. I still think it needs clearing up, because I agree with the 'electro-acoustic bass if it's a double bass that is stock fitted with a preamp/pickup' on principal, but it's still using a pickup to amplify a primarily acoustic instrument, so I'm not sure what is what anymore. We need a truly definitive answer? the luthiers need to get together and define it for us me thinks!

[quote name='EssentialTension' timestamp='1339936590' post='1696433'] This is nonsense. People are at liberty to contribute disagreement as much as agreement and they can't do either without reading the thread (or at least a proportion of it). It really is that simple. Well, given that you earlier said... ... that seems to be the pot calling the kettle black. Maybe you should take your own advice. [/quote] Well said! 99% of the 'discussions' from these kind of threads come from a pot calling another.

[quote name='risingson' timestamp='1339896925' post='1696095'] Wasn't aware you word was gospel? I suppose the bit I struggle the most is the opinion put forward as fact, these kinds of threads are rife with it. [/quote] Yet you still read the thread and contribute despite your disagreement. If you don't enjoy these type of threads, don't read them. It really is that simple. Nobody on here genuinely believes that their opinion is a blanket truth that every other person follows. It's just an expression of a person's passion to say '*insert bass player* is an amazing/crap bassist!'... The 'IMO' is always implied. Maybe stop taking everything literally and lighten up a bit?

[quote name='risingson' timestamp='1339873030' post='1695819'] That'd be their main songwriter Nicky Wire. His songwriting is far more interesting than his bass playing. Which leads me onto why threads like this are generally so dull. There's far more reason for me to enjoy something someone has written incredibly well (lyrics, melody, harmony) than there is for me to hear something played note perfect. Sum of all the parts and that. [/quote] Except its a 'worst bass players' thread, so his songwriting ability is irrelevant... He's a crap bassist. End of.

The guy from Manic Street Preachers whose name I cant remember or be bothered to look up... Oh, and Sheenan. He's just a guitard with a four string!

[quote name='4 Strings' timestamp='1339744392' post='1693506'] My personal opinion would be to remove the final comment on solid boded guitars regarding 'additional tonal subtleties'. I have found no actual evidence of this but evidence to the contrary. [/quote] Can't do that... All the luthiers would lose their income

Ive noticed recently that there seems to be constant confusion about the types of bass bodies and think we should clear it up once and for all! I also thought it was pretty straight forward but through recent threads it would appear not. Here's what I would class them as: Acoustic/hollow body bass - A bass that produces its sound and tone from a resonating sound board and large acoustic chamber. The intended sound of the instrument is produced simply by the wood and pickups serve as a means to amplify the existing tonal qualities of the instrument. Examples - Double Bass Semi-Acoustic/Hollow body bass - A bass that produces its sound partially through a more restricted sound board (usually due to bracing and centre neck blocks) with a smaller acoustic chamber and requires pickups to complete the overall intended sound of the instrument. Examples - Gibson ES335, Gretsch G6122 etc. Solid body Electric bass - A bass that produces the majority of its sound by the electronics fitted with additional tonal subtleties provided by the choice of wood used. Examples - Fender, Warwick, Ibanez etc Any other opinions or additions?

[quote name='chris_b' timestamp='1339674034' post='1692387'] That's all very vague. References and evidence please. [/quote] Yeah, we want correctly documented sources to back up such claims!

When you class sleep on the road/in the green room as 'the norm' and look forward to the rare luxury of sleeping in your own bed! Oh, and when the process of categorising a gig as 'good' or 'bad' is based solely on the rider.

[quote name='JakeBrownBass' timestamp='1339349260' post='1687241'] Yes but as with science there can abnormalities . I'm not talking about people that wrote the songs not understanding. There are instances in songs where 1 chord is in there, out of the blue with no real explanation other than 'it changed key for half a bar or a bar'. And personally, that's not a valid analysis for me. [/quote] So a transient modulation, a standard compositional tool, should be overlooked as simply 'some random chord' because you don't think it's valid for analysis? That's just ridiculous. Not understanding specific compositional techniques is a perfectly valid and honourable reason to not understand when analysing a piece. I don't see why so many musicians try to find reasons to cover that up. We've all been in that place when certain things don't add up and it's just a case of filling gaps in knowledge until things make sense. Too much bravado and saving face to admit that in the world of musicians though.

[quote name='JakeBrownBass' timestamp='1339287043' post='1686532'] Sorry, what I meant by 'random chords' is when you can get 1 chord in a song that doesn't 'work' with all the common analysis techniques. Where there's a single chord that's not a substition, borrowed chord, relative minor, parallel minor, modulation and any other harmonic device. I'll dig out the last tune I looked at when I'm home, can't remember the name of it now. The thing about analysing songs harmony is that it's not a set science. Songs are generally written by hearing something, playing it, writing it down. Analysing it is the opposite, mean you will never really know what the original writer heard in their head and whether or not they wrote and shared a chart themself. [/quote] I agree, but just because the composer might not have understood the harmony they used, doesn't mean that it can't be explained. Also, harmony, melody, music etc is a set science. Just because rocks don't understand how fossils are formed, doesn't mean we don't understand it. It's about the level of understanding the person analysing has on how the music can be explained. Like transcription. Just because one person doesn't have the skills to do it, doesn't mean it's beyond everyone.

Was thinking about learning an instrument and couldn't narrow it down. By chance, I was flipping tv channels and landed on Kerrang! I hated their music, but 'My Way' by Limp Bizkit was on and there's a moment where Sam Rivers plays a little bass fill but practically snaps the low B off his bass as he pulls it right up towards his chin... I thought, that looks insanely cool. Bass it is.

Gretsch 6122 for me I think. Just perfect.

That's all I needed. Thanks Shes after a trebly tone as she plays punk and wants that bright, scratchy attack/tone... 500k pots it is

Just fitting some new pickups in a student's precision. She's upgrading from the stock pups to Fender Original precision pups but wants to have 500k CTS pots. I don't know much about pots other than my Precision pups are 250k as are the stock ones on her bass at the moment. Will it be okay/worth it to upgrade to 500k pots? Any help (or links to related topics) will be greatly appreciated. Also an explanation that I can use to talk her out of it if it's not worth it would be helpful too! Thanks in advance

[quote name='JakeBrownBass' timestamp='1339141068' post='1684151'] it's simply a random chord that sounded good and makes no theoretical sense. [/quote] Unsure that you are correct here. I've never analysed a piece and found chord choices that cannot be explained theoretically... Most of the time, these 'random' chords (as you describe them) are the result of a slight alteration to the key centre, known as a 'transient modulation'. This usually occurs as a side step into a related key momentarily (a good example of this would be a tritone substitution) or switching the diatonic chord through a small scale alteration. For example, having a G7 chord (the diatonic dominant chord in C major) but changing that to G7b13 (the fifth diatonic chord of C melodic minor), you have created a transient modulation from C major to C melodic minor. That's not just a 'random' chord because it sounded good. It is usually followed by implied harmony in the melody that needs the b13 to act as a passing chromaticism to the next chord/melodic phrase. I would be interested to see what you mean by 'random' chords though. Ps, Nicolas Slonimskys book 'Thesaurus of Scales and Melodic Patterns' is a great book if you want to really understand the theory behind almost every possible element of melody and harmony

[quote name='gub' timestamp='1339147341' post='1684253'] Well after much deliberation and having to let our 2nd guitarist go we are now down to a 4piece , guitar ,bass, vocal and drums . We rehearsed last night and so far it's not sounding bad ,we may struggle with some songs and may have to drop some and replace with others which lend themselves to one guitar , Any tips from you guys would be great on getting a full sound , so far our guitarist has put more reverb on for solos and uses his les paul insted of his tele on some songs as seems to cut through better , and I have turned up a bit , and used my active ibanez which seems to sit well . [/quote] Best advice is to adapt your tunes to what you have. You're never going to sound like a five piece with four people, so don't waste your time trying. You'll just end up trying to fill the space with effects and sounds that muddy everything up.

Typical case of 'run before you can walk' musicality... Singer trying to be fancy without having the technique to back it up (therefore fails with her timing and intonation) and same can be said of most of the players. Bassist has obviously only just (half) learnt a single basic slap technique and has tried to implement it in a song that doesn't need it, to the detriment of the ensemble, the original groove, his own timing and any form of taste. I bet he also calls himself a 'semi-professional' or 'professional' musician because he gets paid. Muppet.

[quote name='wateroftyne' timestamp='1338708671' post='1678160'] By the way, here's the one I used to have: [/quote] It's amazing how much better that finish looks when the neck has block inlays... I hate the look of the new ones, but I'd be all over that like a tramp on chips!

++++AWESOME++++ marketing by Ashdown...

[quote name='wateroftyne' timestamp='1338237291' post='1671459'] It's such a fine line between jazz and shred... [/quote] A thin, white, powdery line...

[quote name='Lozz196' timestamp='1337580675' post='1662134'] It is undefeatable, as I think we all wonder "now if I was to put x with y, how that would sound". I`m very happy with my set-up - Precision, into GK MB Fusion/Schroeder. But, when I heard OBBMs Musicman (dunno which model it was) into GK MB Fusion/Schroeder, I did wonder how that would work with my band, as it sounded great. And that to me is the cursed GAS. [/quote] + 1 to this with the addition of the dreaded newsletter that always follows NAMM, informing us that something awesome has just come out! To be honest, this again is more of a 'I wonder' kinda GAS than 'must have it now!', but it's still there, niggling away!