Jump to content


  • Content Count

  • Joined

  • Last visited

Total Watts

451 Excellent

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. This is a classic case of what I call "volume wars". (I know its not the real 'volume wars' which occurred in the music industry in the 1980s). HOWEVER it appears as if you fell into the trap, by turning up yourselves. The correct thing to do is to recognise it and actually all turn down, to the point you can hear each other, then use the headroom in between that volume and your max achievable volume to either make the music dynamic; or to make it louder (more spl) but know that you're making it deliberately louder for the sake of it. This can't simply be something which is discovered at a venue, although some venues are better than others at damping down volume or producing annoying peaks at certain frequencies, etc. If the drummer - or any band member - isn't aware of this, then they need to learn (or be replaced). Drummers have a disadvantage that the playing of their instrument results in an inevitable acoustic volume; while electric bass/guitar can adjust the acoustic volume down and down.
  2. That's a good recording for a mobile phone - do you know what kind it was?
  3. Interesting comments, and thank-you for going into some amount of detail. I know you said earlier "smaller/medium places", approx what size (in seating capacity or fire limit) are these? And what genre of music?
  4. As said before, its a training issue. Teaching dyslexic students requires a more considered approach but is entirely possible, indeed professional teachers do it every day. I am not sure how old you are but its possible that previous teachers simply weren't that good; and/or dyslexia wasn't recognised (widely) in the past.
  5. I've sight-read in alternate tunings such as DADG. Its possible, but requires some concentration! If you see yourself using alternate tunings, then tune into them more often than "once in a blue moon" (which ironically, is played in standard tuning) and get used to being in and out of them. Its like anything else - you are what you practice. French Horn players do it all the time - when you play "stopped" horn, the thing goes up a semitone!
  6. This is interesting, but its more of an education/teaching/training issue. Some people are able to self-learn quite successfully. Others need some amount of direction - a more formal course. There's a ton of resources online but its variable quality and some people just can't get their head round it, when its on the computer screen. So, there's other approaches such as books. Sit away from a computer screen, read a book and it could be better for you. And some will need tuition of some kind by a teacher/trainer. And of course, there is the issue of age - young kids soak up knowledge like a sponge and find it easy and natural to learn. As you get older, it becomes more challenging mentally. I am sure you could learn, but it might be you've just not discovered the way to learn. If you take the approach "I won't be able to, because ............" then you indeed might not, though.
  7. Which is fair enough - if you don't see its value, then nobody is forcing you to try learn to read music. In a broader sense though, my advice to an aspiring learning bassist would be to learn to read music, because it will give more opportunities in the future, possibly in genres of music you haven't really considered.
  8. Of course there is - but the note pitches, lengths and dynamics are important too. You're assuming that the ear-trained, non-reading musician can simply "get" the note pitches, lengths and dynamics, then their "ear-training" makes them superior at being able to apply all the other factors which make up a great performance - phrasing, timbre, etc. In my experience this isn't the case. Also, there is a MASSIVE time saving in being able to get those note pitches, lengths and dynamics quickly - building a base to add all those extra elements. People who can read can do it quicker, and those who can sight read can do it essentially "in real time", without needing to have heard the song before and possibly play it over and over again in their own time.
  9. They're both good to have but it depends on the situation you're in. In some situations, reading is irrelevant and playing by ear is critical; in others, its the other way round. And its fair to say that neither improves the other, except somewhat vaguely/indirectly. In the scenario I'm in: working with large groups (20+) musicians, with limited rehearsal time to get together and the logistics associated with that, relying on everyone to play by ear would be a disaster. So, everyone needs to read music and its a fast/efficient way to get things done and gig-ready. But I can understand in a different scenario, playing by ear would be the way to do it.
  10. For a start, wattage and speaker size are (almost) meaningless. My 30W amp with a 10" speaker can often do a better job than the 120W amp with 15" speaker. You'd hope within a manufacturer's same make/model range, that the apparently bigger one could go louder though. It makes sense to only buy an amp once you have a fair amount of certainty in what you need it for, and if your current set up does the job for home use, no worries there, no need for an amp. I'll give the clip a listening later, on a proper sound system (on laptop at the moment).
  11. Aaaaah makes sense now. In my experience with the smaller end of bass practice amps (only secondhand knowledge - I've not owned one myself but have heard and used them) they're a bit tinny anyway, so (personally for me, IMHO etc etc) I'd always go with a little step up from the 10W or 15W home practice amps and look at something around 30W. But more importantly, try it before buying! I know your question WASN'T "what's a good practice amp" but in the wider sense, what you're asking is similar/related. You're asking if your conventional-ampless setup is able to feed the right sounds to a speaker. Combo practice amps invariably DO feed the right stuff to the speaker....but the speaker itself might not "do it" properly (and it ends up tinny)! In days gone by, the advice was simple - get an amp - but these days, there's so many ways to skin a cat its not so simple. For example, most venues now have a PA of sorts; the rehearsal space might do too; and if not, then if you end up in a band with a singer, somewhere there will be a PA.
  12. Is this a live setup? Or practice at home? Rehearsals? I'm confused what the context is.
  13. Was going to answer too but its all covered in the link.
  • Create New...