Doddy

[quote name='Sonic_Groove' post='703014' date='Jan 6 2010, 04:06 PM']Carol Kaye has always talked out of her a**s![/quote] The amount of work that she has done proves otherwise.

[quote name='endorka' post='702946' date='Jan 6 2010, 03:30 PM'] Childish is irrelevant - it is a mnemonic, and if it works it works. As a learning tool I and others find it useful for "auralising" (?) unfamiliar rhythms. "Santana" is a good one for crotchet triplets, which many people can't seem to hear/play properly. For the record, the drummer who told me of this stuff is excellent - and I do not use the word lightly! Jennifer[/quote] I've never found it to work, to be honest. Take your example of 'Santana' for crotchet triplets-I automatically say it as a quaver and 2 semi quavers ( 'San-tana'). That's where confusion sets in. I have never taught using words for rhythms,and have never had had a student who hasn't been able to grasp rhythms by counting.

Fender used 'Made....' when the instruments were being made by Fujigen Gakki-up until about '97- and 'Crafted....' after production was shifted to Dyna Gakki and Tokai. Recently though,models have been branded as both MIJ and CIJ. Basically, 'Crafted' sounds better than 'Made' as far as marketing is concerned.

Once again,another tour that only plays one London date. That pretty much sucks.

[quote name='endorka' post='702631' date='Jan 6 2010, 11:31 AM']Oh yeah. Drummers are good with words for these rhythms, one I work with uses "hippopotamus" (hip-o-pot-a-mus) for 5 in the space of four. Do you have any others? Jennifer[/quote] I've got a real dislike for using words to describe rhythms. It always seems really 'childish' to me. I don't know any good drummers that use them either.

I use a pair of Shure SLC's (I think) for my in ear moniors and they are great. They cut out a load of outside noise and don't distort or sound tinny.

The Musicman SUB has been discontinued I believe,they still pop up secondhand though. I noticed from your myspace link that you are in Stoke-your best bet is to pop into tha Academy of Sound and have a word with Pete (who posts on here as pete academy), and while you are there nip across the road to the Rhythm Foundry and have some lessons from me No offence meant-just touting for business.

Looks to me like someone put a bass neck on a telecaster guitar. I think it looks pretty nasty to be honest-and just wrong in every respect.

[quote name='bilbo230763' post='701824' date='Jan 5 2010, 04:28 PM']I always told students 'if you haven't got that knot of frustration in your stomach when you are practising, you're probably not working on anything new'[/quote] Totally. If you are playing stuff you are already familiar with,you are rehearsing. Practising,I feel, is working on new things that you cannot already play.

Just out of interest the iGig G515 has a crazy amount of storage space,and can comfortably take a small head-like the MarkBass-in one of the front pockets,and still have space in the other pocket for cables and a laptop.

Don't worry about buying a pedal to smooth your sound,you will be much better off working on your technique. I often rest my thumb on the strings,so don't see the need for a thumb rest. If you are playing on the A string try resting your thumb on the E-it also helps with muting. Alternatively,you could try the floating thumb technique.

I'm not a great fan of Behringer(some stuff is ok),but It wouldn't surprise me if the Behringer and Ashdown were made in the same factory. Anyway,Ampeg is made in Vietnam now so...............

You'll never be able to sound the same as Jamerson-even if you were to play the 'Funk Machine'. I know it's a pedantic answer,but it's true.

iGig all the way-great cases!

[quote name='jakesbass' post='701305' date='Jan 5 2010, 09:43 AM']Lol, I was actually on that gig, I played in a show with Joe for 6 months, he's a diamond of a bloke. And I honestly was still laughing at the show til the last night.[/quote] I've worked with Joe aswell. Top Bloke. [quote name='Marvin' post='701540' date='Jan 5 2010, 01:11 PM']However, I think for those of us who know little or no theory, we are turned off by the first paragraph. I, like Clarky, am a graduate and therefore regard myself as an educated person. Yet that first paragraph makes absolutely no sense to me whatsoever. And although I suspect that understanding it would only come after a sustained period of study, the main problem I, and probably many others find is that the explanation of music theory is so often unfathomable. Take many of the texts on music theory. In so many of them you read along and you're thinking to yourself 'I'm getting this' then out of the blue all the 'rules' you thought you understood are blown away by one statement. That statement will contradict all you understand yet no reasoning or explanation of it will be given. A simple example. C major scale. I read somewhere that the chords in C major contain 4 major chords and 3 minor chords. And that was it. Nowhere did it explain why in a major scale did you have even 1 minor chord (it highlighted Dm). Call me thick but I don' understand it: minor chords in a major scale chord progression. And that's why us plebs get so fu*ked off with theory, there do not seem to be any rules. They change, mutate and no one explains what is happening. I'm off for a big cry now 'cause my head's hurting [/quote] Whereas,I am not a graduate and understood every word. Music is the same as anything else-if you don't study it,it is difficult to understand. I've been teaching a dentist recently,and he was amazed at how I could remember things like key signatures. I asked him how he understands dentistry,and he told me that it was easy!!!!! I never studied anything to the degree that I studied music,but understand very little about science-I suppose it's all relative. Oh, and the diatonic chords in C major are 3 major ( I,IV,V) and 4 minor.

A mate of mine has got a great knowledge of theory,and regularly tours the world with some of the biggest names in Jazz,has done some major 'Pop' tours, is an in demand clinician,and is also a busy producer and MD.

What Derren said is right. The majority of Electric Upright's don't even come close to being like a 'real' Bass (I'm looking at you NS). Basses like the Stagg and Palatino are ok for a relatively inexpensive instrument,but don't think of them as a substitute for an upright. Even some expensive models,again, like the NS,I feel are more like vertical Fretless' than uprights. However companies like Clifton (like I use), Clevinger,Azola and Eminence make great instruments,but they aren't cheap. Don't just noodle on one of the basses at school-if they give lessons,go for them. The Upright is a more physical instrument than the Bass Guitar,so it's best to get some guidance on correct technique.

[quote name='Rasta' post='692916' date='Dec 24 2009, 12:59 PM']Billy Cobhams's Spectrum (bit of an endurance test though) & White Lines-Grandmaster Flash[/quote] 'Spectrum''s cool,but 'Stratus' is better...I think

Not at all. Knowing stuff has no bearing what so ever on your creativity. What it does do is allow you to understand what you are doing,and it is also the quickest way of communicating your idea's to other musicians.

[quote name='Rayman' post='700670' date='Jan 4 2010, 05:21 PM']Does the fact that I've been teaching myself by ear alone for 30 years make me a bad musician?[/quote] No it doesn't-but it does make you more limited than if you had studied some theory.

[quote name='Spolodaface' post='700611' date='Jan 4 2010, 04:35 PM']I have been considering playing the lower 4 strings as if I were on a four-string but the issue I've been thinking about is that if I were to do this in practice later dow the line with a band, i'd be playing in the wrong key to everybody else. That said, my music theory isn't up to scratch so I may be wrong. Thanks for the advice so far though! Reassuring to know i'm not the only perosn facing this challenge.[/quote] If you know what the notes on the 'board are,there is no reason to play out of key. If you don't, I'd suggest that you learn that first without worrying about patterns. Practice things like arpeggios over two octaves,so that you are getting comfortable playing over all five strings.

[quote name='Pete Academy' post='700222' date='Jan 4 2010, 08:57 AM']I think the first reaction when we don't like something is to say it's sh*t. I try to just say 'I don't like it' instead. But everyone's entitled, I suppose. It's the tw*ats on YouTube that post mailcious comments for the fun of it that really gets my goat. Mainly yanks. Oh well, cue 'yankist' comments. [/quote] Yankist!!!!!!!!!

[quote name='Toddy' post='700271' date='Jan 4 2010, 10:27 AM']But in answer to your original question, suppose its what you need it for,, I personally couldnt sit in an orchestra pit next week,, but that guy probably couldnt bounce around on stage at Butlins......[/quote] .........Yes I could,and do.

[quote name='maxrossell' post='699764' date='Jan 3 2010, 06:08 PM']To be fair, most of the stuff in the charts these days is written by songwriter/producers, not the artists (if that word can really be used to describe the half-dressed yelping teenie w*nk-fodder that pass for singers these days), and is total sh*t. In contrast, a lot of the current bands I'm listening to (who aren't anywhere near the charts) distinguish themselves by their ability to write compelling, innovative original music. They're also remarkably good instrumentists, which is not something that can be said for many of the people in the charts these days.[/quote] Bitter much? Oldslapper....nice one on getting the gig.