BassTractor

Congrats! bert

+1 on the MIDI keyboard, but if you want another synth, then the Alesis Micron / Akai Miniak is a _beast_ of a synth, both if you just wanna use the 1,000 or so pre-programmed sounds and if you wanna program new sounds. It's like a travel through the history of synthesis, meaning it will do synth bass à la 60s just as convincingly as a synth bass à la 90s. Like the Microkorg, it's a virtual analogue synth. If you have the money, then the Miniak version is the best bet. It addresses some technical issues the Micron had, and also has an updated, better sound set than the Micron. Opinions on the keyboard vary, but I like the Miniak's slightly better than the Micron's. Three octaves keyboard if memory serves. Mind ya, programming new sounds should be done through a computer, as the tiny display is a huge drawback. If you have more money, I'd go for the 4 octave Waldorf Blofeld Keyboard. A lot easier to program without computer software, with a delightful display and more knobs than the Miniak. Virtual analogue as well, but has so much its own character that some tweaking is needed if you want a historic approach. Will do everything though, and sounds more like the fantastic but very expensive Waldorf Q than even the Waldorf Micro-Q does. Just let me know if you want to know more. best, bert

Hi, Ameliaoliver, Welcome to BC. Hope you find a great community here. [quote name='Hobbayne' timestamp='1337458213' post='1660501'] Are you looking for a small practice amp? Have a look at the Roland cube 30 watt combo. [/quote] This may be great advice. However, personally and as a noob, I chose a Beta Aivin 35W over the Roland Cube. Though the Beta Aivin lacks the effects the Roland has, I think it sounds better and more present. Just my halfpence. BTW, it was also cheaper. Enjoy the site! bert

That was a great read. Thanks. I share your enthusiasm, btw. best, bert

Only relating to the title question (not the beginners' bit) Yes - "Roundabout", as mentioned several times before. It had a major impact on me. Finally something with interesting bass lines (that I knew of - I wasn't well versed in rock at the time). Later, this next song REALLY had an impact: "Total Mass Retain" (starts at 5:47, but the rest is quite fun too) from "Close to the Edge" by Yes, here in a bass cover version: [media]http://youtu.be/Ami8TQr6sq8[/media] bert

Hi Bassick Man, Welcome to BC. Apparently you already added yourself, so now just enjoy the ride. best, bert

Hi William, Welcome to BC from one of the Dutch boys here! best, bert

[quote name='Warwick_Official' timestamp='1337339720' post='1658387'] Hello Bert, Whether you believe it or not, my post was meant to inform...and I completely see your point of view. While trying to provide a bit of historical reference and pointing out the relationship between Warwick & Framus...as well as what makes Framus different today than what it was historically...I suppose I overstepped. I did not mean any abuse, or blatant adspeak. For this, I apologize. I'm very enthusiastic in my position, and will proceed with a greater awareness of what you're saying. I hope we can move forward. I would like to be a part of the gang, to be present, join in on some great chat, and have a nice time. I'm certain you will come to see this...so thanks for giving me the opportunity. And truly, all comments and feedback - positive or negative, are welcome. [/quote] Wow, Garey! I think that that was very classy. Thank you! I'm very confident that we'll go along just fine, and in fact have felt confident from the beginning that we would get to this positive outcome, or else I wouldn't have bothered. Now shut up so I can use my time on saving money for my new Thumb NT! best, bert

As said before, I'm no bass player yet, but I am a musician. My take, and one I can't stress enough: [b]Do not train for speed. Train for quality. Speed is the bonus result.[/b] Speed is the result of playing a lot and playing at the highest level of quality that you can. This means you play the stuff in the same way next time you play it (same fingers on same strings and positions, using the same technique for damping, etc.), and that you play at your top level as to musicality. The core is that you do this at slow, comfortable speed for a rather long time, and augment speed (carefully) only when the stuff sits perfectly. This way the muscles are trained, yes, but way more importantly, the brain area for playing is augmented considerably. The more brains cells are freed up for it, the more you'll be able to do exactly what you want. Good luck with your hand! bert

Hi Debs, Welcome to BC! I'm sure you'll like this friendly site. Can't really help you with recommendations on online courses, as I'm a total noob myself (one without any substantial guitar experience at that), but I just went the cheap way, and bought some books off Amazon that came highly recommended in the Amazon reviews. Satisfied with that. YMMV and all that, of course. Enjoy! bert

[quote name='walplayer' timestamp='1337253426' post='1657826'] What's wrong with a company wanting to establish or improve customer relations ?[/quote] Nothing. I welcome it. [quote name='walplayer' timestamp='1337253426' post='1657826'] Would you rather the opposite or a J.Hall Rickenbacker approach?[/quote] No, I wouldn't like "the opposite", whatever that might be. No, I wouldn't like a J.Hall Rickenbacker approach. Not that I know what that is, but I understand from this forum that J. Hall is an a**hole. So, did I answer your questions? I think so. Did you really relate to what I'd really written? I think not. Rather, you set up straw men. I fail to see why I should be the target of your straw men, seeing as I first welcomed Garey, and only reacted negatively after his over the top adspeak. Up to this point, Garey has warmly thanked for any support, but has failed to adequately respond to the core of the criticism: that he abused the forum with adspeak when he could just have relaxed and be one in the gang, and a highly appreciated one at that. [quote name='Warwick_Official' timestamp='1337255041' post='1657872'] Thanks Walplayer. Our goal is that, exactly. We are interested in bridging the gap between company and player. In the end, we hope it will be a benefit to everyone. [/quote] I still warmly welcome this, Garey. You are in a position where you can be an important part of building the finest of relationships between factory and user. Boasting about the superduper range and what important people use it, should not be part of that. Also, being sorry for the effect of your words is not the same as being sorry for the words, you know. Now please be a good boy, do your work well, and we'll be good friends. /condescendence best and good luck, bert

[quote name='bluejay' timestamp='1337092887' post='1655289'] I see your point, Bert, I was slightly irritated by that post of Garey's too, but I think we should cut him some slack, as he's new here, and stick to constructive criticism. I'm sure he - and his company - are more likely to take our suggestions on board that way. [/quote] You may be fully right, Bluejay, and I hope you are. However, I have a hard time seeing this as a newbie's need for slack. I honestly think it's a result of corporate thinking, and planned ahead, including plans on how to tackle criticism. I do however hope that I'm wrong. best, bert Edit for spelling "Bluejay".

Welcome to BC, DD! I hope and trust you'll enjoy. best, bert

Enthusiasm for music - 95% Musical perception - 99% Emotional connection - 82% Social creativity - 96% Musical curiosity - 99% Like others, I was quite surprised that I didn't score higher on Emotional connection. Then again, I do see that music doesn't rule my world like it did 30 years back, so maybe the results show some old git relativism on my part. Like some others, I was bewildered by the music styles, thinking they meant classical, jazz, reggae, hip hop, pop and rock, whilst still giving me only four groups. Maybe I read the instructions poorly, but I gave the slightly off-beat examples the OK, thinking that it was OK enough for a test like this. Wrong! I was very disappointed with my ability to compare the piano tunes, and felt I was more lucky than I deserved. Happily though, I will live. best, bert

[quote name='warwickhunt' timestamp='1337092180' post='1655273'] but I'm not sure why that should cool your opinion of them! [/quote] Well, at any rate, It's not about my opinion on the basses themselves. But I do react strongly negatively to this type of forum abuse. As an importer/distributor, and having my own forum on my own website, I never use that forum (my own forum, mind you) for corporate cut 'n' paste or blatant adspeak. It's distateful. I hope it also is unintelligent. best, bert

Hey Gothmetaldude, Welcome to BC. Yeah, loud and powerful is a good thing. Only drawback of loud and powerful must be the design of some instruments. best, bert

[quote name='Warwick_Official' timestamp='1337085252' post='1655097'] Thanks for the feedback! We've recently combined the pages to offer the New Warwick & Framus Facebook page. Warwick Basses and Framus Guitars are made side by side here in Markneukirchen, Germany (as well as the Framus Vintage/Artist Series and the Warwick Pro/Artist Series, made in Korea)...which many people do not know! Fred Wilfer (Father of Warwick's Hans-Peter Wilfer) created the Framus company in 1946. For decades Framus was one of Europe's leading stringed instrument company, played by artists such as John Lennon, Elvis Presley, Billy Lorento, and Bill Wyman. In the late 70's Framus was forced to close due to competition from the Asian market...but after a couple years of transition, Warwick was founded: 13 September 1982, by Hans-Peter Wilfer) Now, 30 years later, Warwick and Framus offer an amazing array of models and options...as well as an incredible Artist roster. The factory is a blend of cutting-edge technology and hand-craftsmanship...with a dedication to high environmental standards. We welcome all your comments...thanks! [/quote] After that post, and the intense FB advertising, my warm relationship to Warwick is already cooling down, I'm sorry to have to say. bert

Welcome, Chris, from another old noob. I'm sure you'll enjoy this forum. best, bert

Welcome back then, Rob, though of course your best 99.9% won't be affected by my welcome. best, bert

Similar as above, of course, but we were putting a band together for doing some originals and some covers, of which I remember a Gentle Giant song and one by Dalbello. In comes this guitarist with his axe tuned to an E minor chord. A barré (that the word when you pinch all strings with one straight finger?) plus one finger is major, right? Explains he was in a metal band that got a record contract after they'd thrown him out. best, bert

Hi Garey, Welcome to BC. I hope you'll be able to enjoy as well as shed professional lights. Love my RB Corvette! best, bert

Welcome to BC, DarkHeart! Enjoy the ride! best, bert

It depends on the music for me. In rock or pop, I listen for stuff that I just happen to like. That would normally be the harmonic and rhythmic drive, but might be just one nice interval, a chord progression I have a weak spot for, or whatever rocks my boat. As far as instruments go, despite having been a keyboards guy for 45 years, I mainly listen to the bass and the drums. Melody is not my force, and I'm totally lyrics-deaf. Recollection depends on the song. Some stuff will never be remembered even after dozens of listenings, whilst other stuff sits "photographically" in my brain after just one listen. When listening to classical music, there's both the composition and the interpretation. As to the interpretation, I listen for whether the artist has anything new and interesting to say about the work, has balls enough, sensibility enough and enough prowess to show both the analytical side and the "lyrical" side of it, in a personal yet balanced way. (I don't know if this makes sense, and bravely hide behind the fact that it's almost two o' clock now, and I should def. be sleeping.) As to the composition, I'm rooting with the composers, and don't want them to fall into traps they set up themselves. So I tend to be an active listener in that I concentrate on the rhythmic and harmonic machines, and "talk" (in my head) to the composers as the music unfolds, as in "Do NOT repeat this II, V, I now. At least use a VII, or else you're gonna have to land this movement prematurely." I have little recollection of the piece until after many listenings, but I'm a bloodhound for quality, often being able to pinpoint the composer on basis of sheer compositional quality, like: "The composer of this late Renaissance music is so good, it can only be Monteverdi. Or: each time this composer is confronted with a problem he created himself, he'll quickly run back to the root key. So it must be Vivaldi." bert

To me it seems like a bloody great way to do it. Have never tried though, but was taught to sing along with the different parts while studying organ pieces, to get a feel of the "breathing" of the themes. best, bert

Hi Aj, Welcome to BC! Switching to bass was a great move indeed. Me, I switched from keyboards after 45 years, and only wonder why ever I didn't switch earlier. Enjoy the ride! bert