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ambient

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Everything posted by ambient

  1. They're all just tools at the end of the day. Being able to read standard notation. Being able to confidently play something appropriate when given a chord chart. Having the physical skill (technique) to play what is required. Having good listening skills to know by hearing what's going on harmonically. Having these doesn't make you a more creative player, but it does make you a more in demand and employable player. Here's a quote from Anthony Wellington's facebook page. He's a musician that I really admire, notice the word musician . It's a bit long, but says a lot. [i][color=#333333]Today, on my TalkBass 'ask a pro' page, a guy asked me if I thought that there were any players out there that were MORE superior than others. I assumed that he meant 'more elite than the elite,...or jazz players. He also asked if I knew any bass or drum 'savants'.[/color] [color=#333333]Here's my long ass response![/color] [color=#333333]"Actually, there are very few players that I hear that I feel are superior than most. Only 2 or 3 come to mind. [/color] [color=#333333]I've been a teacher for a very long time so I don't evaluate someone's playing on whether I like what they do or not. I base it on what I refer to as their 'toolbox'. [/color] [color=#333333]For me,...musicians are craftsmen! And when you think of what we do in those terms things become more clear. You not only hire a craftsman for the ideas that they have but also for having the 'tools' to bring those ideas to fruition.[/color] [color=#333333]Think of Da Vinci,...[/color] [color=#333333]He not only had to have the idea of the Mona Lisa but he also had to have the 'tools' to bring her to life. If he had the idea without the 'tools' we wouldn't have the Mona Lisa and if he had the 'tools' without the idea we wouldn't have the Mona Lisa.[/color] [color=#333333]For me,...[/color] [color=#333333]Victor Wooten has the biggest toolbox of any bass player I've ever heard or 'evaluated'! And I've checked MOST of them out. And Victor's has one of the BIGGEST imaginations out there too!. I'm not saying that he's my favorite bass player,...even though he is one of them. But I like my OWN playing more than I like his. But I like my own playing more than I like anyone's bass playing because I have yet to hear anyone play the bass in a way that expresses what I feel. NEVER! Only I can do that for me. [/color] [color=#333333]But Victor is not trapped by the instrument that he plays like a lot of musicians are. His ideas are bigger than the bass guitar.[/color] [color=#333333]Most of the bass players I've heard over my career are good at 1 thing. Some are good at a couple of things. But to me that's like a basketball player being good at 'driving to his right'. He can be better at that than anyone on the planet but once an opposing coach realizes that 'driving to his right' is his 'go to' move, he can be rendered 'non-effective'. The defenses can 'play him to his right'. He's exposed![/color] [color=#333333]I don't want to go into any more detail than that because it'll be obvious, in some cases, who I am talking about. But listening, knowledge, dexterity, 'rhythmically complexity' are huge parts of the equation. And I find that Jazz musicians in general lack in rhythmic complexity. And Jazz musicians have been horrible writers for the last 30 years. That's why current Jazz musician's compositions haven't been added to the 'Real Book'. For the most part when you hear a Jazz band you're hearing a 'cover band' playing songs written before 1970. If you don't believe me,...just think of who YOU think is the current preeminent Jazz musician of our day and name 5 of their songs. Is it Wynton? Name 5 Wynton Marsalis Songs![/color] [color=#333333]I know of a couple of bass players and drummers who I consider savants,...but I won't name them because they may not like that label. I believe that there is a very thin line between 'genius' and 'savant'."[/color][/i]
  2. Didn't realise it was widely disliked. If it was then why would most towns and cities around the world have bother to have jazz festivals each year ? Why is there a national Jazz FM radio station ? Why are there magazines and books devoted to it ? Why am I playing in a jazz band at a posh wedding next Saturday night ?
  3. Imagine you're a singer or guitarist or both, or whatever, and your band is looking for a new bass player. Your old one has left and you have an absolutely vitally important showcase gig coming up in 2 days time, but you only have one rehearsal. Wouldn't it be great if you the band could say to the bassist, well the tune starts with a Bb minor pentatonic, the chords in the verse are Bbm7/Ebm7 etc, etc, the chorus is this and so on and so on....... And wouldn't it be great if the bass player new exactly what you were on about ? Wouldn't it be even more brilliant if you could write out the bass lines for him or her from your demo, and present them in standard notation ? He or she could just play them off at the rehearsal and you'd all be very happy. Or shall we all just stick with not actually knowing what we're doing, or maybe just have an idea here or there and maybe come up with something good, and maybe not .
  4. [quote name='bassman7755' timestamp='1382292532' post='2250245'] A lot of people who learn theory neglect the most important part - ear training. For example its all very well knowing that G -> C is a perfect cadence in C but if you cant "hear" what it sounds like in your mind then the knowledge is of little use. [/quote] To know what the notes are at each fret, and to know the relationship between them. I don't see how someone who knows where an A is, and where a C sharp is, and knows the relationship between them, plays them and doesn't hear how they sound from one to another, and that they're the first 2 notes from while shepherds wash their socks. Same with the other intervals, and cadences. You hear amen at the end of a hymn, if you learn that's a plagel cadence, how'd you not know what it sounds like ?
  5. [quote name='EssentialTension' timestamp='1382293188' post='2250260'] That makes no sense. To know what a perfect cadence is I have to know what it sounds like. Anyway who are these people neglecting ear training while learning supposed theory. If there are such people then they aren't learning anything. [/quote] What I said .
  6. [quote name='kdubb24' timestamp='1382291173' post='2250219'] Oh yeah, didn't think about the A/P switch! The Audere switch is independent from the circuit board but not sure if the wires will reach to the MM plate switch hole position. I own a Miller 4 string...so I can measures and get back to you. But if your handy with a soldering iron it wouldn't be that hard to lengthen the wires if needed [/quote] It'd be cool if you'd check please . I don't know if the 5 string MM is different to the 4 string. It is a different preamp, mine runs off 2 batteries. I was thinking of getting a John East preamp for it.
  7. [quote name='bassman7755' timestamp='1382292532' post='2250245'] A lot of people who learn theory neglect the most important part - ear training. For example its all very well knowing that G -> C is a perfect cadence in C but if you cant "hear" what it sounds like in your mind then the knowledge is of little use. [/quote] I think that's another myth, personally . Same as the one about classical players not being able to improvise. It's something we're taught at uni, but most people I know, even drummers there have great hearing and are able to recognise cadences and intervals, it's part of being a musician. If you take the time and effort to learn the theory/harmony side of your playing, why would you neglect the aural side ?
  8. So the pots and switch are fixed to the circuit board thing ? OK. Mine's the 5 string version, can you maybe let me have the spacing centre to centre please ? And somehow measure how far the little switch is away from the knobs.
  9. [quote name='AM1' timestamp='1382288566' post='2250141'] [sub]So it is a ghost note? That makes sense. Ta. The D then is just naturalised as it would be sharp otherwise due to the key signature. OK. Yes, double sharps are usually in front of the note in normal sheet music, so bass transcriptions seem to follow the same protocol. [/sub] [/quote] Bass transcriptions are normal sheet music, just written for bass , but yes you're absolutely right dude.
  10. You use the theory knowledge without thinking about it. If someone says play over Em7/A7/D/D I don't start thinking, [i]now what can I play over that ?[/i] I automatically think, that's a II/V/I/I in D and play something appropriate without thinking and without going through a load of nonsense before finally coming up with something that works. All this, theory is bad and takes away your creativity is a load of utter b****cks put about by people who can't be bothered to learn the language.
  11. It's a 'dead' note, it's there but has no actual pitch as such, used a lot in syncopated stuff especially slapping. A double sharp is a cross in front of the note it applies to.
  12. [quote name='Grangur' timestamp='1381679394' post='2242195'] Thanks for the contribution, Ambient. All additions to the thread are always great. [/quote] No problem, I emailed Bagsie a few things last week. If anyone wants and tab free charts just pm me and I'll email them some. I don't wanna get in trouble with my uni by scanning their books and posting them up on the internet.
  13. [quote name='Grangur' timestamp='1382248659' post='2249635'] As nobody has mentioned it, I try to keep a diary of my practice. It helps show progress, especially if you put down the metronome bpm you can play riffs at if you're trying to get faster. WRT time per day. Id love to say it's a regular 2 hours, but with a job, mortgage etc, life isn't so easy to find the time every day. To all the young out there; use the time well. Its a luxury you won't always have. [/quote] That's a good suggestion. Another slightly related is to plan your practice. List the ares you want to work on, decide how much time you've actually got and split that time up accordingly.
  14. About 7 hours today. Lot of sight reading, some improv over melodic and harmonic minor modes and major 7# and b5 arpeggios. I always use a metronome varying the tempo and listening to the articulation and listening out to check my string dampening. I have tendency to play my notes a bit short sometimes. I also try and do some transcribing most days, either just rhythmic melodic or both. Keyboard practice too. Plus work for uni, arranging, composing, harmony and theory revision and stuff like that.
  15. I have a long one, about 2 weeks old. Came by mistake from bass direct but couldn't be bothered returning it for the correct size.
  16. Finished in fiesta red with rosewood fretboard and a tortoiseshell pickguard. This is a CIJ model in good condition, just a couple of slight marks on the edge of the body and the headstock. Currently fitted with fender flat wound strings. It sounds and plays great. No case, so collection from my parents in Birmingham only.
  17. If you're looking for lessons from a really great bass player/teacher with a great lyrical or vocal like style contact Steve Lawson, he's living in Birmingham now. I had lessons from him for a couple of years, he's a very good teacher.
  18. [quote name='keefman' timestamp='1381761199' post='2243257'] I'll have it..... Message me please. [/quote] There's someone already interested, I'm just waiting for 'em to pay me . There's another guy interested too if the first deal doesn't come off.
  19. [quote name='mcruiz67' timestamp='1381745775' post='2242995'] I though I'd start it. I'll introduce my 'other family'. ACG Finn Classic singlecut with Armstrong's. Modulus Q5W fretted with U-Retro and Nordstrand's. Modulus Q6 fretted with U-Retro and Bartolini's Modulus Q5 fretless with U-Retro and Bartolini's Steinberger Synapse with U-retro and EMG. I also use the BLI unit (to let me know when the batteries are going down), and the STMP-01 Stomp box (with passive basses, double basses or to set up another tone to switch in when needed). * Feel free to contact me for opinions, experiences and general thoughts on them.* Who's next??? [/quote] Wow, love your Modulus's or is it Modulii . I gotta Q6, that funnily enough I'm about to fit an East U-retro to replace the Aguilar OBP3. I've been discussing having a custom U-retro made with just the one switch to save drilling another hole.
  20. Super locrian or altered scale, 7th mode from melodic minor. Play a pentatonic starting on the minor 3rd which is kinda what the #9 is, in this case a G pentatonic. Mixolydian would work too. Transcribe the bits you like, and then work out what it is harmonically that he's playing.
  21. I just bought an Intellitouch clip on tuner from Amazon [url="http://www.amazon.co.uk/Intellitouch-PT10-Mini-Tuner/dp/B002KDHBRU/ref=sr_1_1?ie=UTF8&qid=1381707079&sr=8-1&keywords=intellitouch+pt-10"]http://www.amazon.co.uk/Intellitouch-PT10-Mini-Tuner/dp/B002KDHBRU/ref=sr_1_1?ie=UTF8&qid=1381707079&sr=8-1&keywords=intellitouch+pt-10[/url] I'm very impressed with it. Tracks easily and accurately from the low B to the high C on my 6's.
  22. Beautiful sounding classic bass preamp. 18 volts, 4 knobs which are volume, balance, mid cut or boost, stacked bass and treble cut or boost, and there's a switch that selects the mid frequency for the mid control. Comes with black knobs. £70 posted.
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