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JamesBass

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Everything posted by JamesBass

  1. Today it’d be: Kind of Blue Songs in the key of life Thing of Gold
  2. Far too many great albums to list just three but, some of my favourites are: Kind of Blue - Miles Davis Headhunters - Herbie Hancock Songs in the Key of Life - Stevie Wonder Aja - Steely Dan Voodoo - D’Angelo Tell Your Friends - Snarky Puppy Thing of Gold - Snarky Puppy The Beautiful Game - Vulfpeck there’s 8 for you, all or most draw from multiple genres so it’s a real mixed bag!
  3. [quote name='thegummy' timestamp='1508201545' post='3390493'] It seems a lot of people share my experience in finding the P "just right", especially for rock or blues involving electric guitars. Some situations I can think of that theoretically may allow the J to shine could be: [list] [*]A sparse song with acoustic guitar and light drums? [/list][list] [*]A slow ballad with clean arpeggiated guitar rather than dirty chords? (we do a song like that and I roll the P's tone all the way off and use my thumb but have thought using the J's neck pup could be good. Have tried it at rehearsal but when I'm concentrating on playing and singing it's hard to really compare the tone - would need to record both). [/list][list] [*]Songs where piano or other keyboard instrument are used rather than guitar? [/list] I think the reasoning behind the scenarios is that the P seems to have strength alongside electric guitar chords as it manages to fill a space that fits in with that. Good posts so far [/quote] Funny you should list all those options for using your Jazz, I'd be using my P with flats for all those situations! My Jazz tends to get used for most things post circa 1985, and especially so when I need to get more at hand tone shaping!
  4. My P is my go to. It sounds awesome, it plays awesome, and it's light and easy to carry! My J is a 5 string elite and it also sounds awesome, it also plays awesome, and it's light and easy to carry! Being an active bass and a 5 string I use it for more modern sounding songs and in rooms where I need added control on the fly! Also the low B comes in very hand! The P wears flats for all other circumstances!
  5. It's not a particularly hard line for me, harder ones like Lingus which is relatively slow and switches between 5/4 and 4/4, and most of the stuff off the Tell Your Friends album. However if you can't get the line and it's made you not go to practice then get the lads to bin it off. Music shouldn't be a chore and definitely shouldn't cause you to not want to practice and play!
  6. A major 6 is a very Dorian note to pick over a minor chord. As others have said the G# can come from melodic minor as well. I love making use of different notes to alter the feel of a track! For me there are no right or wrong note choices, only better and worse choices. Each of us will pick different notes at some point, I say embrace that!
  7. This is just one of the reasons I LOVE music theory!
  8. I find these days the only SBL vids I watch are those with other bassist in as they are much more interesting! I learnt to set the email filter to spam as soon as I joined the Academy. For what it's worth, I LOVE P basses, I don't quite get the hate/discontent with those above over Scott's bass choice!
  9. Degree educated experienced professional bass player available to take on new students in either Portsmouth or Southampton. I can also have students come to me, I'm based in Warsash, and I'm also available via Skype. www.jamesfoxmusic.co.uk
  10. I can confirm that the interface should work with sierra as I have it and I have sierra and I recorded some stuff just last night! Check audio preferences and make sure that the Safire is routed properly. Alongside that try opening the Safire mix control and seeing if that helps. The college I'm the Technician at has a Safire 56 and it only seems to work with the mix control open too!
  11. [quote name='wateroftyne' timestamp='1506102547' post='3376535'] There's lots of pickup options with the Maruszczyk - you can also spec the neck profile as well. The Moollon's look great too, but does the £1700 include shipping & import tax? [/quote] Yeah I've seen all the options at Maruszczyk, it's certainly a good way of doing custom orders but I'm not sure they are for me as I don't think they nail that vintage sound. Yeah the Moollon final price was all inclusive of shipping and tax! The exact price delivered is £1703.47 on today's exchange rates.
  12. I totally forgot about the CITES reg changes! I was considering a MIJ from Ishibashi just the other day! From the Marusz (that's the most I can spell right now of them!) that I've played it felt nice, but sounded much more modern than any of the 60s P's I'd played! Plus their "custom shop" prices have gone up quite a bit, a P that wasn't actually a full width P neck was topping out at £1450. Where as the Moollon was only coming in at £1700 for the exact spec I'm after. The attention to detail that the Moollon guys put in to things really excites me and combined with the amount of pro players who have used and do use them I'm certain that I'll be placing a order for one at some point soon, I just need to save up a little bit more!
  13. [quote name='MoJoKe' timestamp='1505913051' post='3375165'] Yes, no question. I have one of each. The passive rig is conservatively 8000w, and the amp has a built in crossover (and Dante... very neat, but not cheap). I can do anything up to small festivals with this rig. The smaller rig is the MarkAudio Audio Chain, as per link above. I have 2 x System 2's, which, by comparison to my big rig (and most "sub-pole-top" type active systems too) it disappears on stage, but each is rated at 1000w RMS or 2000w Peak (bearing in mind they are the same MPT power amps in Markbass gear, these ratings are almost certainly a real-world underestimation!) and they are very loud, but still very musical. Don't risk being misled by claims of wattage and SPL figures. It is known that the majority of the industry is a joke when it comes to these published figures. Nearly all the cheap/budget manufacturers will quote peak wattage (until you dive into the small print! 2000w peak but 150w RMS is not uncommon on ebay!), which means absolutely bugger all in the real world, and claims for SPL (Sound Pressure Level), may well be accurate in a lab, at a specific peak frequency, for 10 seconds before the drivers pop out of their cages, but again, don't give any idea how loud or musical they really are in the real world. You need to give several options a proper listen. The AC2's are louder, more musical and don't sound compressed when compared to a full set of Bose F1 tops and subs (I was able to A/B them in a music shop), which are often seen as a benchmark for this class of gear. I also listened to their ERGO system, which still wallops 1400w RMS a pair and sound as nice, but less headroom if you need lots of power, but fine for a band who just want to put vocals and a kick drum through the PA Getting back to the original point above! Most active PA systems have reasonable DSP and crossovers built into them, and are designed to work and play well together in a top/sub combination, and you simply send them a single XLR feed for each. Trying to do it with a mix of different gear is going to be very complicated. If you have a digital desk with matrix sends, you may be able to do the crossovers on the desk then use 2 x outputs for the subs and 2 x outputs for the tops (though I would probably recommend making your life simpler by running the subs as mono, as these frequencies don't provide stereo imagery at all well, and having each one do slightly different things is gonna give you a world of muddiness), though this is hungry on aux outputs. Alternatively an outboard crossover will do this as long as it has some decent EQ-ing options as you will need this to match your gear to get the best frequencies from the speakers you have. And this is all very well with the gear in a nice dead sounding marquee at a wedding, until the next gig is in a small stone barn with a 90db room limiter on the power supply, in which case you'll have to start from scratch! If you are still heading down the crossover route, see if you can pick yourself up a XTA DP424. Expensive but will certainly be the best chance to take all your headaches away. If you want a simpler (and more reliably musical!) life, sell what you have and re-invest in a full active system, or a full passive one. [/quote] Can't disagree with any of that! Like you say one or the other is best/easiest as mixed gives HEADACHES! Having never needed to own festival capable speakers and rig I'm a HUGE fan of going for active. The Alto TS212s the OP is look at are phenomenal and blow the Mackie SRM series well out the water! I find them to be nice and rounded as well as being very loud and punchy. As always the best thing to do is to hear them and experience them as much as possible. Haha, you've nailed the illusion of manufacturer stats! Far too many stats are purely marketing crap! OP, currently Yamaha are making VERY good speakers at an affordable cost, Alto's TS2 series are great, RCF, dB, EV, the more expensive JBL actives are good, and the MarkBass AC2 sound interesting! Good luck OP!
  14. [quote name='FuNkShUi' timestamp='1505211061' post='3370202'] Think this would be the right forum for this? Feel free to move. Currently we have a non powered desk (Yamaha MG16xu), powered by a Behringer iNuke, then this powers passive tops, that we link to subs underneath. The subs have a built in crossover in them. I've convinced the band to go for active tops, and as such we are looking at either RCF 322s (second hand) or some DB opera 12s, or some Alto TS 212s. My question is, what would be the best way to set this new system up? Because the tops will be powered, we obviously wont be running the power amp to them. So what would you do? Whats the best way to link everything? I'm not a expert on PA's so any advice is appreciated, even if you think it may be obvious. The mixer has 4 auxs' and 2 monitor outs. At the minute we run our monitors from the aux outs, so they can have individual mixes to them. So my thoughts were to run the tops as normal, then instead of linking the subs to them, run the subs from a aux via the power amp , and manually mix in the channels we want to come through them. Or would you still link the subs to the tops in series , and do away with the power amp? [/quote] Personally the easiest and simplest option is all powered or all passive. Mixing both is a ball ache. The modern active speaker offerings are light, powerful and full response so it may be that you don't need subs. It all depends how you set your sound up and what you are micing up. What sort of size gigs are you guys doing and what sort of backline do you have and what sort of music?
  15. [quote name='vutran' timestamp='1505113398' post='3369470'] He uses Lundgren pickups on everything he does, mine is a custom Lundgren PJ-set. here's a picture of my #1! [url="https://www.instagram.com/p/BSyvRYLhQhm/"]https://www.instagram.com/p/BSyvRYLhQhm/[/url] [/quote] Good to know, thanks! That is beautiful! I'd love a 5 string Jazz from him at some point...
  16. [quote name='vutran' timestamp='1504890990' post='3368146'] I know Tom personally, I live in Finland 100km from his house. I've had mine since 2013. It's the most expensive, comfortable, beautiful sounding instrument I own. I'm also a lefty and mine is the first left handed he built and the ONLY with PJ-pickups. [/quote] What P pickup is it that he uses? I asked if he would do me a custom P but said he couldn't/wouldn't!
  17. JamesBass

    Moollon

    For those on Instagram go check out Rufus Philpott, he's just gotten a P classic 4 and has a Jazz classic 4, beautifully basses!
  18. [quote name='Phil Starr' timestamp='1502028303' post='3348813'] Oh! a bit more response than I was expecting! It's as if we are on the opposite sides of a chasm of understanding. I doubt very much that anyone here, if they've been playing a couple of years, doesn't know about scales and chord tones, or about which chords go together and form the structure of most of the songs we play (and by implication the circle of fifths). Even transposition is something you won't really avoid, even if all you do is the bassists version of using a capo... move your hand and play the same pattern. Whilst there are a few people who may play everything by a combination of a decent ear and trial and error and proudly proclaim it as the only way I suspect most of us are hungry for any bit of theory that would help our playing. The trouble is that when someone just says 'learn your scales' it's a meaningless phrase. I'm sure all of us can play a pattern of eight notes and probably know major minor and blues scales (avoiding the mixolydian word here) but if that is all there is to it how does that help? This is where the conversation usually breaks down with frustration on both sides. Most of us can play a major scale, up and down, starting on whichever root note we choose. If we can't we could learn to do so in a few minutes. Surely there is more to it than that? Even calling the notes out as you do it, well I can see that would be useful in learning the fretboard but is that really all there is to it? And how does that help in a practical sense? Honestly I'm not trying to be contentious, I know the ignorance is mine , I just don't get it and can't understand why the people who do get it can't explain what I have to gain. That's why I'm interested in what the OP gets by making the journey. [/quote] Your thoughts are well placed, especially if you've been playing and you haven't had to use theory yet. With a good teacher, something of a rarity, the concepts become easier to understand. As I said it's all about the context as well. It's worthwhile learning the theory in something you already know, then branching out to a song you've always wanted to learn. I was fortunate enough to study this stuff at Uni and college where I had some amazing teachers, especially my lecturer at college. He really lit the fire of understanding and wanting to be "clever" in music in me, and since then I've gone ahead and taught myself an awful amount, building from my basic knowledge through books and songs. I wasn't intending on giving such a reply earlier, I got lost in the theory haha! [quote name='dood' timestamp='1502029807' post='3348826'] I wish I wrote that instead, as it's kinda what I was getting at. I LOVE the OP and that it's a great feeling when something slots together and sounds ace - and it didn't need lots of explaining to make it work and derive a huge amount of pleasure from it. That in itself is awesome and should be rattled out over and over as the sense of achievement will never be lost. I do agree though that the teaching of theory is often a mess and far from progressive leaving students, musicians confused and unfulfilled. Great teachers are hard to come by and unfortunately, I really don't think the odd paragraph on an internet forum trying to explain what an experienced player thinks is a relatively simple concept is the answer for someone seeing this stuff for the first times. [/quote] You're spot on. Theory needs more time and it's better face to face than on an internet message board! Learning theory is a very dynamic process, some days it's frustrating and pointless, other days it clicks and the concepts are clear and easy to understand. All help and advice is useful to someone though. Even if that's not clear to them right away! I'm lucky enough that all my students private and college ones have all bought in time my style of teaching and my approach to music. I tend to look at things from a bigger picture view, more like a band leader or producer would. Sometimes the perfect note is the root player low and straight rock semi-quavers to drive it along!
  19. [quote name='Phil Starr' timestamp='1502007083' post='3348666'] I'm probably in the same place as Bonzodog. I started with covers bands within months of picking up the bass and the pressure of always learning the next song. (just off to run through 50 songs I haven't played in a while for an occasional duo i play in for next week for example). I'm not averse to learning a bit of musical theory, it's really interesting and I'm confident that it would benefit my playing but I also know the benefits of just learning the songs and it's hard to take a step back for longer term thinking. I'm also confident that our OP will have picked up a lot of bits of musical theory on the way. Learning the scales is surely just shorthand for improving his understanding of theory. So I'm really interested in how he gets on, and how it directly affects his playing. Is it really worth my while in terms of stage performance to ease up on the practice and learning of songs to deepen my understanding of theory? [/quote] Learning songs and learning theory goes hand in hand. It's all well and good learning the latest must play cover song, but if you need to change the key and you don't understand how key signatures work then it's gonna be a hard slog. Same as learning just theory makes it useless if you don't know the context in which to play it. I would personally recommend everyone taking a song they know how to play really well, and then I'd say look at what the song is doing, what chords are used, what order are the chords played in, make a note of what your bass line is. Then go and learn a bit of theory and begin matching the theory to the songs. This sort of method works best if you have someone there to help point you in the right direct and to clarify things. A major scale in the key of C is: CDEFGABC. There are 7 "steps" in that scale, and they follow the pattern TTSTTTS, T = Tone or whole step, S = semi-tone or half step. Each of the notes gets assigned a number for where it is in the sequence, ranging from 1-C to 7-B. Those are the 7 basic notes that we harmonise to form chords in the key of C Major. A harmonised major scale follows the chord pattern of Major Minor Minor Major Major Minor and Half-Diminished. So that again is in order of 1- Major-C to 7-Half-Diminished-B. You can now follow common chord progressions in the major scale such as the ever popular 1,4,5. This sort of very quick basic theory combined with learning how to transpose using the circle of 5ths or the cycle of 4ths is so helpful. The circle of 5ths works by taking you root, which for this purpose is C, and then finding the 5th of C, which is G. To prove that, start on C in your major scale and count up with the scale till you find the note G, which is the 5th note in the scale. G now because our new key signature, and repeat. For the cycle of 4ths, take the same principle, just be aware that if you're using the cycle of 4ths notes are enharmonically called by the flat. If using the circle of 5ths the note is enharmonically called by the sharp. Now you can transpose songs easily as well. If anybody has theory questions I'm always happy to help!
  20. [quote name='blue' timestamp='1501946521' post='3348414'] Playing with metronome will help your timing. Most of us are rushing and we don't even know it. Go to YouTube and search 140 BPM and your good to go. Blue [/quote] I'm naturally behind the beat. As for 140 BPM, that's too fast to really progress your time feel. I would suggest start as slow as possible, often 70 to 80 BPM is good, some students I make go down to 60BPM. Learn how to feel subdivisions too and learn how to consciously syncopate.
  21. If a digital desk is sought, I'd suggest the Behringer XR air family if you or a band mate has an iPad. It's at the top end of your budget for sure at around £650 but it's very well built, it's got good preamps and it's simple to use!
  22. I'd recommend not buying mackie, they're speakers sound poor to my ears when compared with brands at a similar price range! Behringer make some very good desks, and the new Alto TS2 range are fantastic for the price! Definitely worth looking in to them. I'd also look at EV RCF and Yamaha.
  23. Have you tried adjusting pick up height or any other set up trick? That may help instead of buying a new pick up
  24. [quote name='TheGreek' timestamp='1500138023' post='3335877'] Just back in with the dog and got chatting with one of my neighbours who's also from Cameroon and had turned me on to Richard Bono a while back. Turns out he knows Richard very well - they used to hang out together when they were teenagers - he's going to try to get me a free back stage pass next time RB's in the country. There was another bass player he mentioned - Etienne Mbappe - another friend of his and RB. Only had a quick listen but me likes... [media]http://www.youtube.com/watch?v=yyJUjLtrvqw[/media] ..and a Jaco style solo: http://www.youtube.com/watch?v=ZqWCFKMQlxg [/quote] Very cool! Richard Bona is absolutely one of the best out there currently, his sense of composition and what and when to play is phenomenal! I love his collabs especially when he duets like the Bobby Mcferrin video. Etienne is another seriously good bass player, I particularly love his work with Salif Keita who's one of my favourite musicians right now!
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