Doddy

There are a couple of daft mistakes-the worst being in the bit about Mark King and it mentions the slap influence of 'Larry Johnson'. is that some super player made up of Larry Graham and Louis Johnson? In the same article it mentions that Marco Mendoza's album 'Casa Mendoza' is his first solo album-it's not. Also(being picky),in the funk column,it says that 'Rappers Delight' samples Bernard Edwards line on 'Good Times'. Nearly-the line was actually re-recorded,I can't remember who by right now though.

The GWB 35 comes with D'addario EXP .45-.130

I stuck a set of nanowebs on my Fender Jazz 5 during my panto run,and within a week the coating started to flake off over the fingerboard and where I pluck. In fact,some of the coating got under my nail on my right hand,middle finger and caused an infection! I won't use them again.

I use an Emma TransMORGrifier which is great. I've also got an Aphex Punch Factory which is nice but really subtle,an an old Ibanez CP-9 which is really good aswell. The Emma is the only one that lives on my pedal board though.

I've never advertised so can't really help you there. What do you plan on teaching?

[quote name='BottomEndian' post='1150733' date='Mar 5 2011, 05:09 PM']I really liked the look of that. Then I [url="http://www.giggear.co.uk/p/Ibanez-Grooveline-G104-Bass-Natural/"]saw the price[/url]. I still like the look of it... I just know now that I won't be getting one. [/quote] It's still way cheaper than the Gerald Veasley model

[quote name='risingson' post='1150447' date='Mar 5 2011, 12:15 PM']I've said it before, a young person taking up bass isn't interested in theory 90% of the time, they're interested in just playing their instrument as fast as they can and getting in a band so they can get some girls! I was like this until I was given lessons two or 3 years into playing my instrument. There needs to be that initial emotional connection with your instrument on the most base level before you go about tackling the theoretical side of things with a teen.[/quote] There is a way of incorporating the two though that will make it fun and interesting to the student. If a beginner expresses an interest in a certain band,it's usually possible to show them a couple of songs and say 'Both these songs use this scale/arpeggio. How cool is that?',so you are showing them something that they will enjoy,while implying that if they learn the more technical side they will be able to play loads of songs easily. It works pretty much every time. It works with learning to read aswell.

Well,Michael Manring took lessons with Jaco and admits to trying to copy him,big time. Good call on Tom Kennedy.He's a monster player.

You can try playing it with one finger per fret,starting on the second fret.That's probably the best option because it allows you to play the line in position without any shifting. Oh,and it's Anthony Jackson,not Andrew.

[quote name='LawrenceH' post='1149998' date='Mar 4 2011, 09:51 PM']That's exactly it though - you learn with your ears, and that's what tells you you suck! Theory involving notation and chord/key names is a great shortcut to helping make sense of what you're hearing, narrowing down the options. I just think that for some people that kind of academic approach becomes a real barrier to participation in something where they could actually engage with it on terms that don't require that degree of abstraction.[/quote] Yes,it was initially learned with the ears,but not wanting to make those mistakes again,you go away and study-at least I do. Learning things theoretically isn't a shortcut at all,because it takes time to learn-a bigger shortcut is to just learn a fingering pattern. The only time that learning this stuff becomes a barrier is when the player doesn't know how to apply it to music. If you do know how to apply it,it actually removes barriers and gives you greater options. [quote name='LawrenceH' post='1149998' date='Mar 4 2011, 09:51 PM']As a final point you do seem to place a lot of importance on reading chord charts. Obviously, that's crucial for what you do and is fair enough, but would be of little use if those around you are employing a different system, which is fairly common when talking globally. You talk about thinking in shapes rather than notes, whereas as an analytical system I'd say it can be entirely equivalent knowing the sound of a note as a position in a shape or as a name within a scale. The difference in the two systems is that one involves a visual and the other a linguistic semiosis, the only important things are whether you have a firm grasp of the link between sound and its representation in whatever system is being employed, and to a lesser extent which system those around you are employing. For instance, I have to rely entirely on my ear or visual cues whenever I play with anyone who uses tab![/quote] The reason I use chord charts as an example is because it is common way of passing information,although it could just as easily be a keyboard player dictating the chords beforehand. The problem with learning just a series of patterns,is it becomes easy to get stuck in that pattern. If,for example,you learn a major scale in it's most common fingering,you can reference the notes within it based on that pattern. But,if you know what notes it contains,you can reference it over the whole fingerboard. Like I've already said,you don't stop using your ears when you study-you use them both in conjunction with each other.They both help each other. There are a lot of gigs out there where you don't have the luxury of being given the music to listen to ahead of time,and it's for situations like that where knowing all this information becomes vital.

Edited for same reason as icastle

As (from the other thread)you seem to like pointy basses.............. [url="http://www.theacademyofsound.co.uk/Bass_Guitars/Charvel_Star_Bass_Red_Maple_Fretboard"]http://www.theacademyofsound.co.uk/Bass_Gu...Maple_Fretboard[/url] Bargain.

[quote name='LawrenceH' post='1149668' date='Mar 4 2011, 05:03 PM']It's extremely disingenuous to suggest that a player who doesn't have formal theoretical training lacks understanding of what they're doing.[/quote] I never said suggested that if you haven't had formal training that you lack understanding. What I said was that if you have an understanding you are more likely to eliminate the trial and error than a player who doesn't. If you are required to play a C minor and you don't know what notes are involved,you will struggle to play it correctly,and are more likely to make a mistake that someone who does know. That's the way it is with most things. No one is suggesting that you should know everything about theory,but this thread is about having a basic understanding. You may not need to use it with your band,as it may be a case of listen and copy. But,if you ever want to move away from this situation you will need a basic understanding of theory. 'Natural' talent is all well and good,but it doesn't help if you can't decipher a basic chord chart. The thing with guitar and bass,is that because you can play patterns on the fingerboard,it is easy to think of a scale of chord as a fingering rather than a series of notes. You may be able to get away with this for a while,but in the long run,it can lead to problems. For those of you that care,everything I know was learned by either doing it on a gig or by sucking on a gig and realising that I need to learn more if I want to get rehired.

[quote name='Pete Academy' post='1149596' date='Mar 4 2011, 03:59 PM']I'd consider a swap for an acre of the moon.[/quote] I'd consider a swap,but Barratts have already made me a good offer on my acre of moon.

I'll help

[quote name='Ancient Mariner' post='1149024' date='Mar 3 2011, 10:46 PM']TBH this is as arrogant as the claim having no theory is essential to creativity. A good player with or without theory will avoid the note that sounds bad because they know it will sound bad. The player with theory will be able to give a detailed explanation for why it sounds bad, whereas the ear player will just say they avoided it because it would sound bad. As someone pointed out here, theory players don't usually spend all their time calculating what notes may and may not be played over a progression - they know because they've learned how music works at an unconscious level, just like the ear player.[/quote] It was Me and Bilbo that made the comments about it being unconscious. What I said wasn't arrogant at all. If you have an understanding of what you are doing you are more likely to eliminate the pure trial and error than a player that doesn't. If you are asked to play over,say,a G7 chord,a player who knows a bit about theory will be able to play it straight off,whereas a player who doesn't is likely to hit a duff note or two because they don't know what notes work. Like I said before,having good ears is vital,but there are a lot of situations where having good ears alone just won't cut it. That's not being arrogant-it's being honest.

[quote name='Lfalex v1.1' post='1148649' date='Mar 3 2011, 05:42 PM']And which is worse? Out of tune or out of time (or wrong time signature) I'm no [b]Theorist[/b] (Bilbo! ) yet I've had my share of explaining the difference between 3/4 and 6/8 to some people...[/quote] It's all part of the same thing. There is a big difference between 3/4 and 6/8 and it's as important to know that as it is to know the difference between the key of G major and G minor.

[quote name='Ancient Mariner' post='1148520' date='Mar 3 2011, 04:07 PM']One could argue that being able to hear a musical progression is evidence that one's ear had been trained and educated - the thing missing is the mechanism to explain what you hear to someone else using 'English' to describe the flow of notes.[/quote] But,as has been said many times before,ear training isn't exclusive to those that don't know theory. If you are handed a chord chart or asked to play a progression and you can't play it,it doesn't matter how great your ear is....You'll get fired. [quote name='Ancient Mariner' post='1148520' date='Mar 3 2011, 04:07 PM']I don't entirely disagree - with the statement you didn't quite mean to make. The thing is, a luddite won't think "I'd love to substitute a flattened 5th there", but instead they'll think "I'd like the music to progress like this" because they'll know what that note sounds like, even though they don't know it's a flattened 5th.[/quote] A learned player won't think "I'd love to substitute a flattened 5th there" either,they still know how the note will sound.Just because you know about theory doesn't mean that you stop listening and rely purely on knowledge,however that knowledge is always there in the background,subconciously. The big difference is that the pure ear player may hit the flat 5 and realise that it sounds horrible, whereas the schooled player will already know that it's a bad choice.

[quote name='BurritoBass' post='1148373' date='Mar 3 2011, 02:03 PM']When I clicked on this thread I actually thought "basic" was going to be a little more advanced than not knowing the difference between a major or a minor; or knowing the key of a tune.[/quote] You'd be surprised how many people don't know the keys of tunes,and instead base it on the first chord.

[quote name='Ancient Mariner' post='1148307' date='Mar 3 2011, 01:12 PM']I suspect that guitarists will generally be less up on music theory because they are generally the lead instrument. However since bass is primarily an accompanying instrument, knowing theory is much more helpful, if not essential.[/quote] Being a lead instrument isn't a good excuse-what about all the horn players who know what they are doing? The only reasons a lot of guitar players don't know much is because they can play purely by patterns and shapes,and they can't be bothered. [quote name='Ancient Mariner' post='1148307' date='Mar 3 2011, 01:12 PM']I remember an interview with Yngwie M - he was talking about how much he'd studied, all the theory he'd picked up. In the next breath he explained that when he solo'd he'd deliberately forget the theory and just play what he felt like playing. Having theory won't automatically make you capable of musical expression, although it can make you a very good form of biological playback device.[/quote] But you are forgetting an important point someone about Yngwie. He has studied to a such a point that he doesn't have to think about the theory. It has become ingrained,and he can just play with out consciously thinking about it.

[quote name='LawrenceH' post='1147891' date='Mar 2 2011, 11:45 PM']The language of music is the music though, not the names we ascribe to aspects of it. I find music theory really interesting but someone can be such a complete ear player that while they're fluent in the language of music, they're unable to speak in English/(Italian) about what they're doing. That's only a problem when the direct communication through the music fails.[/quote] But,if someone asks a 'complete ear player' to play a particular chord sequence or whatever,and they have to search around because they haven't heard it before hand,then they are not 'fluent in the language of music'. Not all music is communicated aurally,so unless you are happy playing within narrow confines,you really do need at least a basic understanding of theory. No one is saying you need to know everything,but I would expect anyone I work with to know the difference between major and minor....it's basic stuff for any musician,especially if they are playing a chordal instrument.

A=440

I'm guessing that you favour one finger over the other,therefor one has developed harder callouses. Very few people(if any) are perfectly even with all their fingers.

[quote name='Mlucas' post='1147440' date='Mar 2 2011, 06:16 PM']In my experience theory is not needed, as long as you know how notes sound in relation to each other [/quote] So it is needed then Unless you are just going to be playing the bottom note of the guitar shape with no regard to what it is or how it sounds,a basic understanding is needed. You could play a major third over a minor chord,wince,and hopefully correct it....but why not take away all the guess work when you could play the right note to begin with?

[quote name='stingrayPete1977' post='1143655' date='Feb 27 2011, 06:39 PM']Well I had a 2 hour lesson last week and have [i]loads[/i] to practice! [edit] Well there you go, Im going to study as and when I can then go back for some more to the top man that is Doddy [/quote] Cheers Pete Glad to help. I love your pre EB Stingray,by the way.