xilddx

I'm a bit of a snob on stage I suppose. I wouldn't want to go out with a Squier. It's daft, but I feel more professional if I'm playing with professional gear. This has only happened since joining Basschat. I've been out with Squiers, over ten years ago, but when I got a Hohner Jack Bass my drummer said it sounded so much better, a much bigger deeper tone. Also, I want good quality pickups, electronics, and hardware. I don't want to go out on a sh*t solder joint or a crap strap button, or get mullered by the rest of the instruments because I've got weak pickups. Also, I like the Fender logo and feel good with it on my Strat's headstock, it is total quality and I completely trust it. Like I do with Warwick on my basses, not Rock Bass.

I wish I'd not sold my black Warwick Corvette $$ with ebony fingerboard.

[quote name='risingson' timestamp='1324488479' post='1474899'] I'm 22 and it bores the hell out of me. It's obvious they're having a lot of fun doing what they do and I respect the fact they're bringing Jazz to a wider audience by mixing it with the plastic pop sounds, but it's not for me. A lot of respect for them though as they're very talented guys. But give me this lot anyday:[url="http://www.youtube.com/watch?v=d-IlUFgEVW4"] http://www.youtube.com/watch?v=d-IlUFgEVW4[/url] [/quote] That's funny, I checked out Snarky Puppy the other day and they bored the sh*t out of me, all clearly very talented but it's from a very different world to Dirty Loops who thrill me.

[quote name='I_like_jazz' timestamp='1324474144' post='1474657'] I have an 06 American standard 4 string jazz bass that I had converted into a fretless a couple of years ago. The instrument is in good condition and plays well but I was wondering if you think [b]converting it into a fretless will have devalued it a lot[/b]? I was thinking of selling it and I was [b]contemplating having it re-fretted first. Is this a good idea or would I just be wasting my money[/b]? [/quote] Yes, and yes.

This guy always has a few [url="http://www.ebay.co.uk/itm/Fender-Japan-Vintage-66-Reissue-Jazz-Bass-JB66B-/260907348930?pt=Guitar&hash=item3cbf4a33c2"]http://www.ebay.co.uk/itm/Fender-Japan-Vintage-66-Reissue-Jazz-Bass-JB66B-/260907348930?pt=Guitar&hash=item3cbf4a33c2[/url] Not great comms when I dealt with him though. Although not terrible either.

Can someone tell me what the first intro chord is at 0:02 ? ie. bass, keys, vox. What chord does it imply? If you can give me that chorus sequence in chords, and the scale and scale tones of each chord, you will help me understand some serious stuff! I can't even hear the key centre really, is it something like E minor modulating to G sharp minor? Any help gratefully received! http://www.youtube.com/watch?feature=player_embedded&v=KjVGJ3YFDc8

[quote name='guildbass' timestamp='1324423832' post='1474217'] Haha... Imagine having to learn Yessongs in 2 days.... [/quote] I'd probably find that easier and more palatable than 25 blues numbers;)

Finally having dinner, but in my kitchen with headphones on watching this on my Mac

[quote name='BB3000S' timestamp='1324420469' post='1474154'] [b]How on earth is it possible to do those lightning quick runs? I'm utterly amazed.[/b] They clearly are awesome musicians, but I'm either getting to old or have overdosed through the years (or both) for this - sadly I have to say it does not move me or touch me at all. Have nothing but the utmost respect for their skill and dedication though, hats off! [/quote] Hammer ons and pull offs. On those light strings. I have to say what stuns me is the Henrik's note choices in the choruses, they are everything I've ever wanted to play on a bass. That's why like Scott Thunes so much, deep romantic attachment to the bass, underpinned by deep theoretical knowledge and exposure to amazing music to educate the ears and make music people laugh and weep to. This is the first piece of music I've heard in quite some time that has given me a massive rush and made me laugh and sing and dance in my kitchen

Can someone tell me what the first intro chord is at 0:02 ? ie. bass, keys, vox. What chord does it imply? If you can give me that chorus sequence in chords, and the scale and scale tones of each chord, you will help me understand some serious sh*t! I can't even hear the key centre really, is it something like E minor modulating to G sharp minor? I can't stop listening to this damn thing. My bloody dinner is going cold!

I must have listened to this over ten times tonight, and although the bass solo is superb in every way, that's when I stop the vid and start it from the beginning, so I can hear those glorious keys chords, drums, vocals and bass underpinning the song so beautifully. f*** knows why bassists feel the need to solo, it ruins the experience. It's a horrible instrument for soloing.

I was desperate for one of these, but I've heard about too many problems to want one. Now if Alex Claber made something similar, I'd probably be on it like a bad rash.

[quote name='paulconnolly' timestamp='1324408414' post='1473964'] I watched It Bites featuring Lee Pomeroy the other week in Manchester. Always been a fan of the band but was mightly impressed with Lee and his unusual setup. [/quote] Was at a Dunnery house concert last night. He's a funny bugger, but him and Dorie work magic together. Take That are seriously good. I saw some of the concert on the TV the other day. Very impressive and some really good songwriting, and a great show.

These kids are amazing. I love what they do. Their arrangements are stunning and they seem to instinctively know exactly what floats a lot of boats. He's got a cracking voice too.

What sort of songs? There's a big difference between blues and prog rock.

[quote name='EmmettC' timestamp='1324227968' post='1472055'] Here's one of me in a hat, and mask. I play like this in Metaltech so no one knows it's me. Don't tell anyone[attachment=95523:thrapston.jpg] [/quote] Haha! Brilliant!

[quote name='markstuk' timestamp='1324226322' post='1472036'] The only hat that appears to look good on me is a Chinese army Ushanka (Russian winter fur hat).. Not terribly appropriate for gigging though.. [b]I am, however, trying to get my hands on a suitable flying helmet with googles though[/b] :-) [/quote] Me too! I want to drive my Mk1 MX-5 with the roof down in the summer, wearing a flying helmet and goggles They do come up on ebay, but I'd need prescription lenses in my goggles.

That's a Mini-Mary. One of a kind

[quote name='Ou7shined' timestamp='1324224305' post='1472001'] Is it real? [/quote] No, it's imagined

Lady silddx brought me back an extraordinary hat from her visit to Russia!

[quote name='Bilbo' timestamp='1324116569' post='1470902'] Sitting here freezing my nuts off in my brother's bike shop. I just thought I would post some jazz that may help some of the people who 'don't get' jazz to find a way in. This is a San Francisco based jazz collective featuring some of todays leading new young players. They recently did a double cd of arrangements of Stevie Wonder tunes. So, have a listen to the one we have all played taken in a different direction. Stevie Wonder's 'Superstition'. [media]http://www.youtube.com/watch?v=bBBZ-2PzSgY[/media] [/quote] Bloody typical jazzers. Horn section yapping through the music waiting for their solos. I see this all the damn time when I see a jazz band, and is one of those things I can't stand. And why has the drummer got cat sick on his floor tom?

[quote name='flyfisher' timestamp='1324129243' post='1471105'] All good points, which shows how difficult the whole issue really is. A 20 minute song being the distillation of an entire life? Quite possibly, but I reckon there's a fair chance that the man on the Clapham omnibus will still see it as 20 minutes of actual 'work'. There seems to be a fair bit of public distaste for successful fund managers being paid millions, but at least they actually go to work every day whereas disaffected youths such as Lennon & McCartney made hundreds of millions from knocking out 3-minute wonders while bunking off school. Musicians having the same rights as authors? Yes, why not? But that doesn't automatically mean 90 years royalty protection is 'right'. The playing field could be levelled up or down. I'm not really arguing for or against these things, mainly because I find it hard to justify them either way. If artists manage to negotiate various rights then good luck to them, but I don't see there's any particular definitive principle or 'right' for such things. I also get a bit uncomfortable about the concept of 'worthy' art when, surely, it's all a matter of subjectivity in the eye - or ear - of the audience? It's a bit like the reverence some people have for 'fine' wine. That's their choice, of course, but "the best wine in the world" means diddly-squat to anyone who doesn't actually like the stuff. [/quote] Why is it a difficult issue? And why should I give a f*** what the bloke in Clapham thinks about the amount of work it takes to write a good song? You seem to have a strange set of ideas about relationship between monetary value, societal value, and effort, and how to quantify that effort.

[quote name='flyfisher' timestamp='1324123463' post='1470996'] Conversely, why should an artist spend 20 minutes writing a song, a couple of hours recording it, and then be able to reap millions from that half-day's work for the rest of their life? Sure, it's an extreme example, but we can all think of plenty of examples so it's a well-know phenomenon. At least artists are actually doing a job of work when performing, which is something the audience can actually relate to. This, I think, is the root of the issue because it's the perception of a vast paying audiences that really matter, not the views of the artists. It's the audience that puts the value on a piece of music (or other art), not the artist. New technology has given audiences the opportunity to really make their feelings about the true value of music known and they seem to be perfectly willing to share and swap recordings for free but still pay very large sums of money for live performances. Am I the only person to have felt rather uncomfortable about the sight of multi-millionaire artists such as Sir Cliff Richards lobbying for a change in the law because they felt that 50 years 'protection' of their royalties was not enough? All this turmoil in the industry is a result of it no longer having such tight control over things, resulting in a loss of income and consequential near-panic among the music moguls. But this will pass in time as the new reality takes over. But there'll still be a lot of moaning and Cnut-like attempts to prevent the tide from coming in. [/quote] That 20 minutes could be the distillation of a lifetime's work.

[quote name='Lfalex v1.1' timestamp='1324073812' post='1470707'] Perhaps, but that does nothing to detract from their being "works of art" (for want of a better expression) I'd rather that artists produced musical works for the sake of it (art) than to try and make money from it. It's not that I'm trying to deny them a living. I just think I prefer the motive of trying to make good music in the hope that someone will like it rather than making music just to make money. Not that the two are necessarily mutually exclusive. [/quote] The thing is mate, working life gets in the way of creativity, through stress, lack of dedication time, lack of time to think. Lack of investment, in terms of time and money erodes musical expression and quality. Why do you think new orchestral music is in such short supply? You have to make some money at music to be the best you can be. I know what I'd be doing if I won the lottery.

[quote name='guildbass' timestamp='1324071658' post='1470682'] I'm sure they would, if I let them! The room is fine..( When I say 'room' I mean an electronically applied reverb patch) .That's part of the sonics an acoustic ensemble relies on.... the Albert Hall doesn't add distortion or compression, it's designed so that everyone hears a reasonable reproduction of the music. When I listen to Buddy Holly's 50's recordings, I hear a bass...No special effects, no fancy stuff, just a bass through the vocal ribbon mic. Sounds fine apart from the bits where the bass notes interact with the room and disappear...Which is why I'll be D.I.ing. I would hope the speakers will be pretty neutral. I've got a bit of history with speakers. basically, I'll be trying to hear my bass sound through the mix as accurately as it went in. If I have to tweak the sound to get it to come out sounding as it went in, then so be it, but MY little Mackie desk and monitoring is HiFi enough not to colour my sound so I'd be very disappointed if the studio's kit does. The engineer will be my mate Ian, who is Porcupine Tree's engineer...he's a good lad and vey into the instrument's tone rather than creating a tone via the signal path... Anyway, we'll see...?-) [/quote] Why do you take this approach mate? The song is king, the singer brings the song alive, you and me are just there to enhance the experience and support the song and the singer. We are very important, us bassists, but we should not get above ourselves, the best bassists understand their role within the music and support its purpose.