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About csmallett

  • Birthday 23/07/1990

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  1. I thoroughly enjoy Scott's Bass Lessons, which has great content considering it's free. I know a lot of people get annoyed by the general you-tubeyness of it, but the guy's gotta stay ahead of the curve and the info he's giving out is great and practical. Adam Neely is less bass-focused now, but taking a deep dive into a random musical concept has been really eye-opening for me. 2 non bassists who I've picked up a tremendous amount of theory stuff from, are Rick Beato and NewJazz. Their videos have been really practical and entertaining to watch, as I find theory can be a dry subject to approach.
  2. I've just got the same one. Would recommend.
  3. I studied music tech at college/Sixth form (I'm now 30), so I'm in a different-yet-similar position to you as I focused more on playing and performing than recording and producing since then, unlike my friends who have stayed up-to-date, and the technology has changed quite a bit in 14 years. I'm currently dipping my toes back in to do some youtube stuff. I would say this though: I can't speak for Reaper as never used it, but Protools, Cubase, Logic, and even Garageband all fundamentally act like real hardware and are logical in the way they're laid out - so aside from new features that have been developed - recording a few different takes and editing them together is still as simple now as it was then, and takes really minimal time to learn. Ever heard of the Pareto principle? You'll only need to learn 0.001% of how this software works to be able to record bass and send it to someone else. 2 tips for you that my friends swear by: When you've discovered how to do so, save a template so you can open it and you're ready to hit record and go. Learn keyboard shortcuts. Both of these things speed your workflow up dramatically and means you don't need to keep repeating yourself. If people you're competing with for the gig can record files and send them, don't make it harder for the band to find you if you're the right guy for the job. As has already been said, it sounds like you're asking this because you feel like you're missing out, so there is your answer. I disagree with comments that you need to create a facebook page as you didn't say the bands want you to have it, and with any new venture you want to be reducing barriers to getting it done, not creating more. If I can offer any help with navigating this stuff, just shout.
  4. Absolutely. I like to pick up technical advice from the shredders because they have the greatest understanding of facilitating that technique, so WHATEVER comes to my mind, I can play it. I'm more likely to listen to something less rock-based, though. What's fascinating to me is learning how the setup/gear of those shredders contributes to their sound, and how an ultra-low action etc doesn't really work for slap, so ultimately I get the best of both in finding the correct middle ground for me. I'll add a third option as well as a friend of mine admitted he doesn't know any new music since we left school in '06; I keep an ear out for Radio1 now so I can hear how the landscape of pop music shifts.
  5. Yep! Keeping each mode in the same key allows you to hear their differences, and stops each one sounding like it should resolve to whatever key you started in!
  6. I agree with this 9/10 particularly for basslines. As far as the musicality of it, surely playing a certain mode for long enough will increase your ability to create with it in your "Mental musical voice" and then find it on the fretboard? I also agree with how obnoxious a lot of players (Particularly the guitar-gods associated with playing modes) sound. We need to remember that practising and writing are separate things, and what we do to increase our musical palette (Specific, narrow-field practise) doesn't need to dictate what we paint, or how we paint it.
  7. I knew what you meant, I was just being pedantic Interesting point. I was having this discussion on another thread - if your goal is to play over a chord pattern and connect your brain to the fretboard asap, you're definitely right. But is it "Knowing" modes and understanding their relationships to chords and how to apply the feel of a given mode?
  8. Haha noted! Definitely not new-agey though, otherwise it'd be an expensive coaster for me, too.
  9. Happy to help. There are plenty on youtube. Here's two which those modes will work over
  10. I get why you'd think that. Victor Wooten impresses me, but I couldn't name a song he's played on. It's a fictional story, with music lessons peppered in it. Essentially just creative ideas to try when writing.
  11. Scott Devine, Rick Beato and a European guitarist whose name escapes me have all got great videos covering this. I'll try and find the guitarist's name and send it to you. The most useful thing I found was in finding out that chords are based upon taking a scale or mode and starting at the root note and going up in thirds. This was a HUGE revelation. I'll explain: In a C major scale, the root is C, a third up is E, a third up from that is G. There's your basic C major triad (3 note chord). If you go up another third from there, you get the Cmaj7. An even simpler way is by saying take the major scale, and play the 1st, 3rd, 5th and 7th notes. Boom, Cmaj7. All this means, if someone is playing a Cmaj7 chord, you can play the Cmajor scale (Which if you've been practising modes, is also called C Ionian) and this will sound "Homely" because you're playing the thing that chord comes from! But every mode has a corresponding chord. If you understand how modes are constructed, you'll know the next mode in the key center of C is D dorian. Taking the root (D), a third up (F), a third up/5th note in the scale (A) and a third up/7th note in the scale (c) makes the chord Dm7. This means playing D dorian will have the appropriate sound over Dm7 because it gave birth to it. This goes on all the way up with: C Maj7 - C ionian D min7 - D Dorian E min7 - E Phrygian F Maj7 - F Lydian G7 - G Mixolydian Amin7 - A Aeolian Bmin7b5 - B Locrian So start by finding backing tracks based around Cmaj7, and these are the chords that it will HAVE to use if it's a regular, diatonic song. Then work on changing from mode to mode when the chord changes and have some fun. If you're a bass player, the easiest place to start is by learning the arpeggios of each of those chords, and playing those, instead of just noodling and hoping for the best. Those tend to give the "Right" feel for a bassline, and it's also easier to choose between 4 notes rather than 7 Word of warning, there are hundreds of songs which start with a Cmaj7 tonality, and will throw up bizarre chords not covered above which you're not ready for. That's ok, those are just lessons for another day. Don't let that fool you into thinking that you havn't learned everything properly, those songs might be interesting to the ear BECAUSE they're breaking "The rules" of theory. All of this means, technically, there IS a type of mode which works best with a type of chord, but the best place to determine that TO BEGIN WITH is knowing which key you're in (I and most of the internet use C major as the example), and working off the modes of that accordingly, not simply trying to pair up ALL minor chords to one type of mode, and ALL major chords to another. Can this be done? Yes, and it's what your website will have been doing for you, but that's sprinting before walking when it comes to modes. They can seem daunting, and with all the maths flying around it can seem insurmountable, but trust me, it REALLY isn't, and there are lots of great resources out there, just make sure you fully understand one thing before moving onto the next.
  12. But they're not. They have all the same notes, just not necessarily in the same order
  13. Personally, I really enjoyed "The Music Lesson" by Victor Wooten
  14. If you like binaural beats (and don't suffer with heart issues or seizures) Aside from that, I like GoGo Penguin. Instrumental post-jazz. Keeps me on edge!
  15. Biffy Clyro jumps out immediately! Doesn't sound right sung in any other accent
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