xilddx

[quote name='andy159' timestamp='1373443749' post='2137546'] this one [url="http://www.herculesstands.com/guitars/GS402BB.html"]http://www.herculess...rs/GS402BB.html[/url] [/quote] No mate. Not for a Jazz.

[quote name='toneknob' timestamp='1373442402' post='2137532'] Any recommendations for a Hercules stand that packs up really small and my Jazz bass won't fall off? [/quote] That's EXACTLY what I need too.

Awful. No commercial potential so they won't be making their own money that way. The bloke on the drums is quite good though.

[quote name='Bassman Sam' timestamp='1373413752' post='2137445'] After my wrist op, I'm nearly there. Let you know tomorrow. [/quote] Oh f*** man I hope it works out ok for you.

[quote name='BigRedX' timestamp='1373411263' post='2137427'] Use a keyboard. [/quote] Cheatin bastard

Jeremy Pritchard from Everything Everything.

Physically, philosophically, musically, emotionally .. ? Would it do some good? Ruin your life? What? (I'll let you keep your thumbs )

[quote name='Clarky72' timestamp='1373376406' post='2136848'] +1 there's a few lurkers out there who never give away too much info on their projects... just the occasional hint at greatness. [/quote] yes, they are not actually quiet about their bands, they talk about them a lot, they just never let you know who the band is.

[quote name='TimR' timestamp='1373369278' post='2136689'] It really depends on how the kick is tuned. Again it's the room that influences what frequencies have to be cut so you're usually limited in that respect. Outside gigs are different. The soundman will have a bunch of default, always go to, settings that he knows will work with his gear in that type of room. He's no different to us knowing which frequencies to cut on our rigs for problem stages. When I saw Rush at Birmingham last month I'm sure what Geddy wanted, what he could hear and what we could hear (depending where we were standing) were a thousand different bass sounds. Once the strings and keys kicked in it was mush. [/quote] Drummers who can't tune their kits properly are a liability. Just like bassists who eq their rigs on their own without the band there or with music on. Some drummers tune their kits all flabby and loose cos it sounds cool, but like Stewart Copeland said once, put that in a band situation and it sounds like they're hitting a f***ing meat pie.

[quote name='KevB' timestamp='1373373664' post='2136795'] Apart from the man himself, does anyone know who JTUK plays for? I've seen lots of posts from him about various gigs but not the name of the band and I don't think there's a link on his sig. [/quote] He's very quiet about his band isn't he. There are a few people on here whose bands I'm intrigued by but who are very quiet about them.

Are any more of these happening? I think I'd greatly benefit from it.

[quote name='merlin' timestamp='1373193189' post='2134477'] The 70s rock band Juicy Lucy,no more time for other projects. [/quote] Cool! No idea they were still happening! I used to listen to JL in the '80s. Nice one man.

[quote name='shizznit' timestamp='1373329054' post='2136380'] Nation Stack is my main band. My current session acts includes Michelle Weeks, Stephanie Cooke, Justine Hattams, Andy Hartley, Antonic, Mitch Matlock, Andrea Love. Yes, I work for a lot of women! [/quote] All my bands feature women too, I'm not sure I'd want to work with a male lead vocalist again As if anyone doesn't know, my main band is [b]Kit Richardson [/b] Kit's music is quirky, theatrical pop, with guitar, bass, drums, two violins, and Kit on piano and vocal, we use a synth too for some songs. Links in my signature. I also play bass for one of Transglobal Underground's satellite bands, [b]London Zulu[/b]. It's mostly Zulu township songs sung over Transglobal Underground's funky electronica production. Full band, drums, bass, keys, percussion, sax, vocals mostly sung in Zulu. This is a live number from last year if you want to know what this sounds like [url="http://soundcloud.com/silddx/london-zulu-may-2012-umlhalho"]http://soundcloud.co...y-2012-umlhalho[/url] I play electric and acoustic guitar for [b]Sheema Mukherjee[/b], she's a classically trained sitarist, and bassist, and composer who has a great list of touring and collaboration credits, Courtney Pine, Sir John Taverner, Olympics commissions, Cornershop, Noel Gallagher, Page and Plant, Transglobal Underground, The Imagined Village .. She's an amazing musician, it's a great honour to be working with her. We are recording her album at the moment, it should be out near the end of the year. [s]She'll also be touring with Hogarth/Barbieri in late summer on bass and sitar[/s]. EDIT: Oh, they have just cancelled the tour. Here she is with Imagined Village .. [media]http://www.youtube.com/watch?v=pVq2hiphg5I[/media]

[quote name='4 Strings' timestamp='1373363276' post='2136617'] Not for Motown, soul etc. Depth charge bass drum sounds are the enemy. Different for different music, if you're playing rock you'd want the depth charge but, normally, more middly bass in which case, yes, you'd swap. The point is to avoid the sound man trying to mix both with the same frequencies and to think about where they should be placed. They are often eq'd in isolation so first a full satisfying kick drum sound, then a full, satisfying bass sound, then a full, satisfying keyboard sound etc all being added to the same, now very muddy area. Then he can't hear the bass drum so he turns it up. For me, one of the keys to good mixing is to consider why I can't hear something and, usually, to turn something else down or to isolate frequencies to separate it out. [/quote] Kick only varies in volume, bass varies in pitch too, kick should not obscure the bass with massive boomy muddy frequencies, and like you, I want my low notes to be emphasizing frequencies below the kick's main emphasis. It does of course depend on the music and the venue, but I like kick to have some tightly defined low mids and some click. I want my bass to have some subs as well as top end definition, and the mids should not be similar to the kick. I'm sure 51m0n will have much to say about this and I'm probably wrong.

[quote name='toneknob' timestamp='1373355624' post='2136459'] Wow, £85 for mp3s. Do people really spend that much on downloads? [/quote] I probably spend half that every month on iTunes. I always buy my music, even if I'm not sure I'll like it. For example, I just bought the Boards of Canada album after all the fuss, it's totally meh, but maybe I'll persevere and get into it, same with t he orchestral and choral music I buy. Part of the fun innit, paying for discovery and REALLY giving it a chance because you paid good money for it.

It's hard to know without hearing the vamp, but in one band I have to play whole songs over one chord, a single three-note riff for example. It's a dance-electronica type thing where the vocalist and rhythm section drive the music, so the purpose is different. It would be very easy to over complicate it with notes, but the way I approach it is to keep it very simple, not be adding notes all the time. The trick for me is to mess with timing and leaving notes out to create interest. In your situation (assuming this is more of a jazzy vibe) I think I'd find the two most beautiful notes, providing they fit the theme, and play around them. I think rhythm/polyrhythm and space is often neglected in favour of notes, so I would think more like a drummer than a melodic instrument. I may of course be way off the mark here.

The band played a blinder last night too, the energy from the band and audience really fed off each other, it was a fantastic launch gig!

[quote name='Clarky' timestamp='1373326786' post='2136365'] Nige and Lozz, I really appreciated you coming along and really you are too kind. But yeah, I think I got very lucky joining this band! Absolutely loved the gig tonight, met all of my hopes Cheers again, chaps! [/quote] We are NOT too kind, you deserve the love! It was a cracker mate! You all look and play like a BAND, you're all f***ing lucky to have found each other. Top night man!!

Fantastic show Clarky!! The energy loop between the band and the crowd just kept growing and growing, I didn't want it to end! The band were tight as f***, the vocals almost sounded auto tuned, your Baby Bass sounded massive and your playing was perfect in every way. What a great night! Great to see Lozz there, and delightful to meet Lady C, and your nipper. I'll be downloading the album on Thursday, the music was glorious! Cracking night mate, congratulations Nx

I'm getting it too. Says slow running script in IE

Debs, have a cracking gig mate! I'll be with you in spirit! NX

[quote name='Raymondo' timestamp='1373280157' post='2135524'] Thanks Xilddx I did know the difference but wouldn't have expressed it so eloquently!.... I just checked on the "news" I had heard about HIV and found this... [url="http://www.huffingtonpost.com/2013/07/03/2-men-cured-of-hiv-lymphoma-stem-cell-transplant_n_3540295.html"]http://www.huffingto..._n_3540295.html[/url] So yes there may be a cure ...but it's expensive and a bit impractical......still a little hope is much better than none! [/quote] Absolutely mate

[quote name='Raymondo' timestamp='1373251554' post='2135295'] As I read it RATM was being humourous.....Hopefully he's[b] free [/b]of all that now.... Obviously AIDS is a horrible thing to suffer from and everybody wishes Andy (or Mr Fraser to me as I do not know him personally,unfortunately.) all the very best. I didn't know he was suffering from AIDS and I assume RATM didn't either otherwise I am sure he wouldn't have made the joke. Incidentally, I heard a news report the other day that said nobody had to die from being HIV possitive these days as drugs had been developed to prevent it......I hope I have remembered that correctly....If that's true then it's great news indeed. I genuinely meant no offence Peteb and understand that your knowledge of his condition would mean that you would miss the pun. Like many on here I grew up loving Andy Frasers bass lines and can still now,,just about, manage a passable version of his lines to Mr Big from the live album....something that gives me great pleasure! I wish him well. Ray [/quote] HIV is the virus that can lead to AIDS. The human immune system cannot fight HIV like it can most other viruses. Eventually HIV prevents the immune system fighting infections, that is when Acquired Immuno Deficiency Syndrome is likely to develop. It can be managed but not 'cured'. Just thought I'd better point that out as there seems to be some confusion. Good on Andy Fraser for getting out there and doing what he loves.

Very interesting, Simon, thanks for posting it. I think we'd do well to remember they are talking (American) pop culture, and new jazz to some extent. There are some very interesting opinions on there, none of them really surprised me, but the one that stood out for me was the fact that we are getting much more immersed in electronica, with the result that kids are not learning instruments these days (if that's indeed true, not sure) so they don't identify with the instrumentalists in the same way they used to. I think that's probably not got the impact the guy thinks it does, but I sort of agree with him, it's just about the size of that market, and the rate of shrinkage. I have many friends who have never learned an instrument but are music junkies, and buy funky new music even though they are in their 40s and 50s. It's the young 'uns who are important though, how are they consuming music? The drugs scene which has often influenced pop music trends is too dilute and varied to have any influence, and drugs are now not really linked to music in the same way, so I think because of that the music scene is also very dilute. There's no scene to follow other than electronic dance music and the DJ is king. You need a scene for bands to prosper.

[quote name='jakenewmanbass' timestamp='1373108482' post='2133770'] I think the major point here is about being able to be free with getting ideas and music from your imagination on to your instrument. From a bass playing perspective, in my view, one of the best ways to gain facilities of that nature is to become adept at interpreting a set of changes and being able to play a variety of bass lines to fit them, because eventually that variety becomes wide as your ability to express increases, then you get to choose which is best. In turn one of the best vehicles for learning that process is to become really comfortable with walking bass. If you can create lines of interest, ad infinitum, from changes with 4 notes (crotchets) from one or two (or however many) chords in a bar, then I promise the world will become your oyster when it comes to letting ideas flow. Caveat: it's really easy to kid yourself that you are doing fine with walking lines, the goalposts are always further away than they look. [/quote] [quote name='jakenewmanbass' timestamp='1373108741' post='2133774'] As Nigel's cohort in this learning process I have to add that, although some of you are expressing concern about him being too hard on himself, I can assure you that it's just part of his personal process, and will in fact help him reach places he has previously shied from. I will reassure him regularly about his strengths, and he has plenty of them, he has a very wide imagination and open minded approach to music. He just needs a period of programming... Sorry to discuss you so openly Nige, but I'm fairly certain you will be happy for me to. [/quote] I haven't had much time over the last few days to reply to posts, but I've read it all. Thanks for the kind words and insights and opinions, great stuff to read! I'm not being any more hard on myself than usual, I'm always hard on myself in all things, that's just me. It's good for my soul, it's how I learn. I completely concur with Jake's statement about learning to walk, and believe me, it is a great analogy. It really does form the basics of understanding the fretboard, and there is no end to the complexity you can immerse yourself in, a immense level of brain training is possible through walking through changes and increasingly complex modulation. I think many of us know this emotionally, but actually learning it is a real wake up call and there's no need to be afraid of it. In fact, If I just stopped lessons with Jake now, that one lesson will have unleashed enough to keep me going for a very long time. But I am not going to stop, I want MORE!! Jake, thanks for the kind words mate, and tbh, I'd thought maybe I was talking too openly about you earlier But I don't think so now. I'm completely happy for you to discuss me openly, whether it is about my attitude (good or bad), my progress (good or bad), or about my strengths and weaknesses. If your doing this this helps other people learn about themselves and generate some confidence in their abilities, or help make some decisions, then it's all good. I would like to say AGAIN, that learning all this new theoretical stuff is NOT going to make me rigid, corrupted, dry, or gratuitous in the use of advanced technique or theoretical application. All it's going to do is make me a MUCH better musician. Better able to be sympathetic to the composers I work with, and to recognise notes, chords, patterns and arrangements more quickly. I am simply hoping to be a much better me.