rslaing

[quote name='tauzero' post='541820' date='Jul 15 2009, 11:50 PM']That's not what you said though. You said that you bought what your favourite players used. I rate (for example) Chris Squire highly but I wouldn't buy a Rick, and nor would I particularly want his sound as I'm not keen on it. It also doesn't make much sense just to buy one bit of the chain. You really need the same instrument, effects, amp, cab, strings, and fingers.[/quote] Most top players in the genre I prefer don't use effects. So if I like the live sound, I buy the stuff that creates that sound. Apart from the fingers.

[quote name='silverfoxnik' post='543893' date='Jul 18 2009, 11:57 AM']+1 I know that I definitely prefer wooden necks, for their tone and feel and I've never wanted a bass to have perfect stability or consistency.[/quote] Upright bass players of the 1960's had the same attitude about bass guitars (with wooden necks).

[quote name='silverfoxnik' post='540855' date='Jul 14 2009, 11:42 PM']+1 Too bright, too artificial, to '80s sounding - which is OK if that's your thing....[/quote] Mine isn't?? I have tone controls on my bass and amp...................

I have a Status Graphite Headless S2 and several other basses that are not graphite. If I was to add my two pence worth, I would say that the Graphite is unique because of the deep piano like tones it can produce, with amazing overtones and sustain. Mine is very light, has no dead spots, and never goes out of tune (it's headless and therefore no slippage on tuners) and needs no regular setup (after my initial preference for action etc was applied to the bass). It really is a lovely instrument and unlike other basses, you have wide tonal variation so you can produce any sound you want. If it was a 35" scale, I would use it a lot more. The non graphite basses I own all have their unique benefits, but I can't make them sound like a Status!! Whereas I can create the sound of my non graphite basses on my Status. So as usual, it's down to personal preferences. But I would suggest if you were to have only one bass - go for graphite.

[quote name='Major-Minor' post='541616' date='Jul 15 2009, 09:02 PM']And I have to contradict RLaings opinion on shapes (sorry Rob !). I think shapes are very important and help to give clarity to one's view of the fingerboard. Jaco used to think in triads all the time, and if its good enough for him ....... The Major[/quote] Feel free to contradict!! My turn now My point was that it was BECAUSE (and it is common with bass players and especially guitarists) FunkSHui has learned his scales and modes in what appears to be primarily based on the shape method, that he has the difficulties he mentioned. Namely, not having the recall beyond the visual aspect. I firmly believe that the best way to learn scales and modes practically is as I suggested in my post. Double bass players don't learn in "shapes" normally.? I didn't anyway, so why should it be any different on a bass guitar? And I think that the shortcut of playing via "shapes" can become a bad habit and results in a deficiency in the visual/auditory/kinetic learning process being developed to it's full capability. The knowledge of the fretboard/fingerboard can also be limited unless a student integrates all three V.A.K. aspects when developing their skills. I had a pupil once who reckoned the shape method was best because as a bass player he didn't really have to go over the 5th fret, and once he had learned the 5 main shapes, he could get a gig anywhere He insisted on adhering to his belief, but when I explained that each shape had to be learned in 3 different ways (because of the root, 1st, 2nd and sometimes a third inversion of the arpeggio for starters) he started to realise there were no short cuts for him either. So a lot of progress is down to the motivation of the student, allied to the way he/she practices. Re: Pastorius. Jaco primarily associated his playing with sounds and "colors" I believe. His brother Gregory did an interview a while back when he disclosed Jaco's skills were honed by his 6 hours a day practising patterns based on each mode and scale in all keys. As you mentioned, perhaps Jaco did think in triads, but that doesn't mean a shape. After all, there are a number of shapes on the fingerboard that can be created to represent a triad, then you have the different inversions - isn't it easier just to learn the notes? Patterns = good I don't mean patterns on the fretboard........I mean triadic/quad/etc patterns and arpeggios developed from each scalar note of the modes and chords. Shapes = not so good Just my opinion of course. Now I'll crawl back to my sick bed (man flu - not swine) and I'm afraid the weekly lesson part 3 might not be out until next week.

[quote name='silddx' post='541481' date='Jul 15 2009, 05:54 PM']I got a POD X3 Live so I didn't have to do what either of you two above do I hear a sound in my head, I've usually got it for real within fifteen minutes I still read many of the gear reviews in BGM though, still useful operational tips to feed into the POD.[/quote] I have one too, they are great when you need to get an alternative sound, and they are easily tweaked or programmed to get what you want. Especially when recording. I don't use it much now - the VB99 is my preferred add-on and is very versatile. If it's good enough for Bona.............................. (which again, is why I bought it)

[quote name='tauzero' post='535546' date='Jul 8 2009, 11:32 AM'][i]"If I want some equipment, I find out what my favourite players are using, and I buy it"[/i] What a peculiar approach to take. If I want some equipment, I try stuff out and buy what I want to buy.[/quote] Not a peculiar approach at all........... I liked the sound that Laurence Cottle had in a concert he did, so I went out and bought an EBS rig. I would have thought it a logical way to do it, and it saves a lot of time experimenting with stuff. Unless of course, that is what you like to do.

[quote name='FuNkShUi' post='541038' date='Jul 15 2009, 10:11 AM']Right, i understand all the scales, and all the modes. I remember all the shapes etc...but i really dont enjoy just sittin there and working through the scales/modes/shapes systematically to be able to remember them all without a kind of "cheat sheet". I get bored, and when i get bored, i dont learn as well! At the moment i have got all the shapes down for a few notes, but i would like to be able to them down for all notes, without having to refer back to "cheat sheets". Does anybody know of any useful books, or excercises that can be useful for getting the scales/modes/shapes to stick in my sieve like brain!? i hope this makes sense [/quote] DON'T play them on your bass until you have mentally practised them. By using your imagination, they will stick in your brain. Close your eyes, envisage playing the scales/modes on your bass in your mind all the way up and down your fingerboard and at the same time say the note you are playing. Play triads on each note of the scale both physically and mentally. This is REALLY hard to do quickly at first but you will get better and it is very worthwhile. It sounds like until now, you have learned "shapes" on your bass. Thinking of a shape to play instead of notes is not musical - it is a very mechanical approach and as a result you will sound "mechanical" when you play. IMO, shapes are a bad thing, and prevent progress because when playing, you are not thinking of or learning the notes. When you physically play the modes etc, try to sing the notes you are playing at the same time or slightly before you sound the note. This helps to develop your ability to transfer the notes in your mind to your hand and trains your ear pretty quickly. It also gets the "sound" of the mode/scale/interval into your head. I'm afraid there are no shortcuts

There is a great site available with all sorts of stuff to help in all areas of music development - including a programme that generates sight reading material to various levels [url="http://www.practicespot.com/freetools.phtml"]Have a look here[/url] There are loads of sites with printed music you can practice with - try ignoring the treble clef sign too and play the notes as if they are in the bass clef. There are some intricate treble clef lines that will bring on your sight reading pretty quickly.

He should ask customs at this what verification is required that he owns the instrument already and that he is returning with it after his visit, and I would imagine, once the problem is overcome at this end, when he goes home he will have to do the same? In other words prove that he already owns it - but the paperwork from this end should solve that issue. It shouldn't be a problem really, just a little bit of hassle

Thanks very much - great to watch. The Ron Carter stuff is interesting too.

[quote name='BigRedX' post='535895' date='Jul 8 2009, 06:09 PM']An individually hand-craft instrument has an unbelievable number of man hours that go into it's construction from selecting the woods all the way through to finishing and set up, not to mention the after-market customer support your going to get with an instrument like that. Luthiers need to earn a living too, I would suspect that few in this country earn more than £10/hour from their custom bass orders.[/quote] I've seen that figure before, and for £10 an hour plus materials, the high end stuff is worth every penny. And if you are fortunate to pick the right one, you won't lose money on it either.

The link in the post is to Amazon, and you can get it there. Here it is again:- [url="http://www.amazon.co.uk/Bass-Fitness-Exercising-Josquin-Pres/dp/0793502489/ref=sr_1_1?ie=UTF8&s=books&qid=1246991425&sr=1-1"]http://www.amazon.co.uk/Bass-Fitness-Exerc...1425&sr=1-1[/url]

[quote name='FuNkShUi' post='534993' date='Jul 7 2009, 06:32 PM']hell of a lot of work and time that mustve taken you. Really easy to understand too! I learnt the modes about 6 months ago, your way is a hell of a lot easier to understand and pick-up though. Really useful for someone who doesnt already know them!![/quote] Thanks. Next lesson will be how to apply them in a song and/or progression, with a few playalongs so people can develop their own bass lines from just chords. It'll be next week though Rob

[quote name='skywalker' post='534906' date='Jul 7 2009, 05:06 PM']Hi Rob Can I ask please about inversions, when I am playing over say a Cmaj7 or C7 chord, I will tend to play the 5 and b7 or 7 below the tonic and the three (and octave 5) above the tonic (second inversion). Mainly this is to stop me making stretches and being all over the fretboard, the notes are close together. The question is is there a right or wrong time to use an inversion or is it a matter of taste or covenience. Thanks Steve[/quote] Unless you are playing in a structured environment where the notes are predetermined to concur with the rest of the musicians, and as long as your choice of notes "fit" and define the song harmonically, it doesn't really matter. If you are talking about rock/pop/blues/jazz, as the bass player you have to define the harmonic aspect of the song, as well as apply your rhythmic choices along with the drummer. As a guide, apart from playing the root notes (mainly) on the downbeats (beat 1) at the beginning of a bar, and the root or other chordal notes on say, beat 3 or the upbeats of any of the notes when playing quavers/eigth notes, (theres something for you to investigate!!) have a listen to your preferred music for a guide. Play along with it, finding the chord changes first, you'll find more often than not, whenver there is a chord change, the bass is playing the root. Listen to the player on the CD, and see how he mixes up the scalar notes to make up his bass lines. If you want to advance your playing, I don't personally think you should apply any rules that will limit your potential. What I mean by this is be as flexible as possible, both mentally and physically. Learn all of the scales in the lessons and play them over a chord sheet of a song you know so you can hear your progress. Buy a few Aebersold cd's that have the backing and music (they are only around £15 each or so) and work through them. If you want one to start you off, pm me. You should physically be capable of playing an octave over 3 and 4 strings, and a tenth interval over 4 strings. For example, play an A note on the 5th fret of your E string (with your 2nd finger) and play the A an octave higher on the 7th fret of the D string (with your pinky). If you want to cultivate some stretching exercises, try using your ring finger instead of your pinky. Also play this with your 3rd (middle) finger and pinky if possible. Then play the Bb on the E string (6th fret) with your 4th finger, and the Bb on the G string (3rd fret) with your 1st finger. I don't have particularly large hands, and can reach this ok. The physical side of your playing is very important, so I strongly recommend a book at this link called [url="http://www.amazon.co.uk/gp/reader/0793502489/ref=sib_dp_pt#reader-link"]"Bass Fitness - An Exercising Handbook" [/url]by Josquin des Pres. It's cheap as chips, and is great for hand and finger development. Cheers Rob

So to get back on topic:- If BGM is so bad, why buy it?

[quote name='steve-soar' post='534796' date='Jul 7 2009, 03:31 PM']Can these discussions be done by PMs?[/quote] Sorry you have had to suffer my posts and opinions. But I feel that the contra-reasoning had to be thrown in for balance.

[quote name='Wil' post='534780' date='Jul 7 2009, 03:23 PM']Yes, I called you patronising due to the particularly insidious way you belittle other members in order to make a point.[/quote] Yes, I do occasionally "answer back" people who make personal and aggressive personal attacks. And normally it is to the "usual culprits" [quote]I stand by it, as even in that post you've implied that anyone with a conflicting opinion must be of inferior talent![/quote] No I didn't. Re-read the posts.

[quote name='GreeneKing' post='534772' date='Jul 7 2009, 03:19 PM']Hmm... maybe some of his posts have been deleted because I can't find where he acts like this. He is a rare breed on BC, not just a professional musician but a very successful one pretty much at the top of the tree. If he's not allowed to state the way he sees things with some authority then who is? I see a lot of BCers acting in a very arrogant manner and it almost seems the norm [/quote] Well said Unfortunately, if you have an opinion that does not concur with the "usual culprits" opinions - you are arrogant, and quite obviously incorrect. It's a shame that as in life, the minority have to spoil things for others. And to get back on topic. I have never bought a music magazine in my life. If I want some equipment, I find out what my favourite players are using, and I buy it. Why would anyone want to read reviews of equipment and buy it, or even venture out to try it, because of someone's (we have never heard of) opinion which most likely, will not be based on our personal criteria?

[quote name='Pete Academy' post='534761' date='Jul 7 2009, 03:12 PM']I'm not sure what to contribute to this thread, but after seeing the negative comments about Janek, the word 'envy' comes to mind.[/quote] I said that earlier (but not my invention) [i]"Envy is the art of counting the other fellow's blessings instead of your own. "[/i]

[quote name='silddx' post='534748' date='Jul 7 2009, 03:04 PM']I don't think that was really arrogance, but I agree it may have been perceived by some in that way. Mind you, there are people out there that think getting on a stage is in some way arrogant and showing off. What are your views on the negative responses, on here, to this perceived arrogance?[/quote] I did not perceive any arrogance at all. Saying someone is arrogant is a common defence statement that people sometimes use when they can't find anything else to have a go at. I can't find anything wrong with Janek's posts. Then again, I was called "patronising" by someone in another post about this - I notice that post has been deleted. The negative responses are a bit like a tribal thing I think - like football fans behaviour. Someone says something and it triggers a rush of hatred from envious people. I agree with an earlier comment you made - perhaps it is a UK thing - the one's with inferior talent just love to annihilate. I always thought arrogance was an offensive showing of superiority. That certainly was not the case with Janek's responses. And if people think that arrogance is someone displaying their ability/knowledge in their speciality area, then those people will never learn anything, because they assume they know better.

[quote name='Waldo' post='534706' date='Jul 7 2009, 02:30 PM']He has a tendancy to post lofty opinions, usually as statements of fact and then gets upset and leaves when challenged on them. Really, this is a cycle that's been happening since the days of bassworld and anyone who's been around for long enough will remember that.[/quote] It's a bit cheeky of this world class pro musician to post his opinions eh? And because of his experience, ability and skill, allied to extensive use of various equipment and basses - how dare he voice his opinion in here? He has the nerve to upset the clique that let's face it, know much better? (After all, he can't get a sound or play like the people in here that don't often get beyond the bedroom door). He must be "wrong" because there are five posts that I have read that not only insult him to some degree, but question his authority. All not really relevant either. This guy is consulted by the magazine in this topic that doesn't pay him for his input, is read by a lot of people in here that don't like it or the contents, and then he gets slaughtered and the rest of us feel embarrassed by the minority that have made him decide that he doesn't want to be a contributor to BC anymore? I would like to suggest that the people who don't like the magazine don't buy it anymore so your sadomasochism can be eradicated, and if and whenever again, there is a skilled pro bassist decides to join in the forum, he is respected and encouraged to share his knowledge and wisdom. Show some respect, no matter who it is. [quote name='RhysP' post='534729' date='Jul 7 2009, 02:48 PM']He was being got at because he was acting arrogantly.[/quote] No he wasn't - the people who were kicking him were acting inappropriately. And it was the usual suspects that rounded on him. And I think your comment is inappropriate too. He probably only made his point because there was reference to him in the thread - as you would. The "discussion" regarding high end instruments surfaced because of comments from forum members, he did not develop it himself. As has already been quoted, I didn't find anything wrong with his balanced and interesting input and neither did a lot of others.

[quote name='silddx' post='534591' date='Jul 7 2009, 12:30 PM']But why does this incivility happen?[/quote] [i]"Envy is the art of counting the other fellow's blessings instead of your own. "[/i]

I have a number of basses, from both ends of the price scale, and although I understand a lot of the comments made for and against so far, there is no way that a high quality hand made bass can be matched by a factory and machine made instrument, generally made by a person who doesn't even play an instrument and a company whose quality control would never match that of a good luthier. It's not just the wood etc on a custom/boutique instrument, it is the attention to detail, the quality of workmanship, the electronics, the after sale care, and so on. I have basses that cost from £200 up to £3500, and they improve in quality as they increase in price, without exception. I am only saying this because I feel it gives me the facility to give an unbiased view on the matter. There have been one or two quips that people have made about cheap instruments being better than "boutique" basses. In which way? If it is the playability, then I agree it could be the case, but only if the boutique bass has not been setup properly, or set up to the individuals requirements. This thread is pretty much along the lines of a lot of the others in BC. It's all about opinion, and people who post are more often than not justifying their purchasing decision, rather than look at the matter objectively. And then if someone else does offer a differing opinion, the whole thing deteriorates into mayhem and the debate is destroyed. [url="http://www.seibass.com/millenium.html"]This one[/url] is the best bass I have ever picked up and bought, because it is as close to perfection and my requirements as I could want. And the main reason for my buying decision was not only the people I was buying it from, but the lifetime warranty that came with it. And it happened to be the most expensive. Not a coincidence. I also understand people not being able to justify or understand why an instrument would, when admittedly of higher quality, cost 10 times more than a bass that is pretty good but "off the peg". That is because a luthier and a private commission will always seem to be disproportionately more expensive unless there is an understanding of the costs behind it all. It's not just the cost of raw materials, it's the time and care spent making a unique instrument by an expert who justifiably can charge a lot for his expertise and the finished item. I have noticed in this forum that people who own expensive instruments do not denigrate cheaper instruments (on the whole). We've all been there, and had some great (and some poor) low to mid cost basses. It seems to be people with the cheaper instruments that shoot down the expensive stuff. But I suppose that's human nature

[quote name='WHUFC BASS' post='533560' date='Jul 6 2009, 09:50 AM']Quick rule of thumb guide for all you people interested in Ohms... Two 16 ohm speakers = 8 ohms Two 8 ohm speakers = 4 ohms Three 8 ohm speakers = 2.66 ohms ( use 2 OHM setting ) Four 8 ohm speakers = 2 ohms ( use 2 OHM setting) Two 4 ohm speakers = 2 ohms ( use 2 OHM setting ) One 4 & one 8 ohm speaker = 2.66 ohms ( use 2 OHM setting ) One 5.33 & one 8 ohm speaker = 3.2 ohms ( use 2 OHM setting ) One 2.66 & one 8 ohm speaker = 2 ohms ( use 2 OHM setting ) Two 2 ohms speakers = 1 ohm Three 4 ohms speakers = 1.33 ohms Two 4 & one 8ohm speakers = 1.6 ohms[/quote] Is this assuming that the speakers are wired in parallel?