SteveK

I think this thread proves (if ever proof were needed) that todays popular music is bo**ox. 95% of the songs mentioned in this thread are 30 or more years old. Is nobody writing decent songs anymore? I mean, for chrisakes, I'm 56 years old, and some of you guys are still playing songs that I was playing in my teens. Please don't tell me some of you are still playing Hey Joe, Proud Mary or Sunshine of your Love

[quote name='cheddatom' timestamp='1357818818' post='1928826'] [i]I don't think that the "quest for tone" is opposed to improving your technique at all.[/i] I like to practise acoustically at home, but when I play with a band, I use a lot of gear to get the sound I want. [/quote] From time to time on BC a thread comes along, along the lines of,[i] 'I've tried this amp, I've tried this bass, that amp and that bass, yet I still can't get the sound I'm after'.[/i] My suspicion is that almost every combination of bass and amp (assuming reasonable/appropriate quality) is capable of delivering the sound that the poster is after. There are 2 obvious things (to my mind) at play here... Either the poster is clueless on how to use the gear (EQ, gain, compressor etc), or his technique is letting him down. The answer is simple: If you've got appropriate gear and you still don't like your sound, before parting with even more of your cash, take a good hard look at your technique. BTW a couple of posts have mentioned FX boards and heavy processing. I assume that we all know that no matter how good your fingers, you're not going to be able to emulate the sound of a Big Muff, stereo chorus, octaver etc without some outboard jiggery-pokery. My feeling is that that's a whole different discussion to the one prompted by the OP.

I'm reminded of an interview of a renowned guitarist (whose name I can't remember), who after playing a few licks was told by the interviewer that [i]the guitar sounds great[/i], upon which the guitarist handed the guitar to the interviewer and said, "Let's hear how great it sounds now".

[quote name='Inti' timestamp='1357741295' post='1927570'] I'm not speaking about insecurity here. There's a big difference between what you play and how you sound. I could play the same line on a fender and on my yamaha and[b] it would sound different.[/b] Amazing how some people have such hard time accepting this fact. Fascinating. [/quote]But not as different as you might imagine. There has been various examples (I think, some even posted on here) where someone has played the same line on different basses and we have to guess which bass is which, results are quite surprising. Our hands and fingers tell us one thing, while our ears are more easily fooled. Amazing how some people have such hard time accepting this fact. Fascinating

[quote name='Inti' timestamp='1357734779' post='1927384'] It's not hard to prove you wrong, just play an open string on my yamaha and then on my fender. They sound different. [b]Gear is important. Really important. All pros know this[/b]. [/quote] It's 'important' because, by and large, we're a pretty insecure bunch. We have our preferred gear in a similar way as we have our preferred pair of slippers, they make us feel at home and comfortable. There are many occasions when a band (even hugely successful bands) have to rely on supplied equipment. The manager/agent at home will stipulate to the promoter what is to be supplied, only for the band to arrive at the venue and be told, "This is the best that's available". Of course the band, after many protestations, will go on and do the gig. And predictably, after the show, the guitarist will moan that he couldn't get the sustain he's used to, the drummer will say his snare sounded like a cardboard box, and so it goes on... but guess what(?) the band doesn't actually sound noticably different to how the band sounds on home turf... with their regular gear.

They didn't say [i]whose[/i] lifetime.

Just re-read your original post, and judging by your mention of pp and ff in your last, do I take it you do a lot of theatre work? Is it the kind of thing where the whole band needs to drop down to allow for dialogue? If so, then I can see why a volume pedal may be needed.

[quote name='silddx' timestamp='1357652774' post='1926014'] [b]I use one all the time. Great for celloing, soundscape-like swells,[/b] level control and on/off. It's become a solid part of my style now. To the OP, what is it you actually want to know? [/quote] Obviously, for those kind of effects a volume pedal is ideal. I think Phil was concerned more with general levels. [quote name='Bilbo' timestamp='1357657778' post='1926123'] I have a Morley volume pedal I got years ago. Useful but I find it' s all in my hands. [/quote]Er, not sure what connection the second sentence has with the first

FWIW I've only ever used the volume on my bass as an on/off switch, ie. it's always full on, or full off. Going from a rocker to a ballad, I would control dynamics with the fingers - maybe moving nearer to the bridge or to the neck for extra control. Most instruments don't have a volume control, and in a rock context drummers and singers don't have a volume control, but they seem to get by... mostly There is a big difference in sound from actually playing lighter to turning the volume down. IME turning the volume control down will mean you just disappear from the mix. I know this doesn't help in the short term, and I certainly don't mean to be patronising (I've no idea how long you've been playing), but maybe controlling dynamics with your fingers is an area that you need to work on when practising.

[quote name='JamesBass' timestamp='1356955770' post='1915492'] Plus often you'll find you aren't the first choice so will hear the "We tried everyone else abut no ones diary fits" In other words you're the last choice! Must make you feel like sh*t! [/quote]Aside from being rude it strikes me as a rather dumb thing to say - " So, are you really saying that you've tried everyone else and I'm your very last choice?.. In that case it'll cost you double my normal rate".

If I were doing a casual pub/small club gig, then, I'd probably only take the one bass. Anything larger, where people are paying good money to see you, then I'd say a spare was essential. In my 40 odd years (and some of them have been [i]extremely[/i] odd ) of gigging I've had a bass fail 4 or 5 times for various reasons. Funnily enough one of those times was our last gig (2 weeks ago) where a straplock gave up on a 6 month old custom Warwick Corvette mid song. Thankfully the spare was already out and ready for action, and strapped on within 20 seconds.

[quote name='Big_Stu' timestamp='1356715672' post='1912900'] I know - can't stand the type - get on my nerves - only thing worse is a stoner boring you shitless after a gig when you can't escape from them. In those cases, like all others you just have to take their word for it, problem is that on a public forum where few folk can actually personally know each other you don't really get the chance to find out for gospel. edit: nor really does anyone have the right to ask, you have to wait until it's volunteered - if it ever is. In your first, for eg, it [i]may[/i] be that they guy was driving along at the limit with a bloody big line of cars behind him. Even if he wanted to go faster he couldn't because of a fat bloke wobbling about on a push-bike in front of him, [b]so when the driver does get the chance tostab the gas[/b] just to get round the bike he looks up just in time to see a speed camera in the back of a van, bugger! Still I heard you can do a speed awareness course for about £70 for that kind of scenario where they'll happiliy tell you that what you should have done is stay where you were no matter how many miles the cyclist went on for. Could also be that the same guy does have a record for one occasion of ABH, which was previously discussed on this forum years ago - for all we know. [/quote]Aaaahh, that intentional 'stab of the gas' that was [b]un[/b]intentional... (or should that be the other way round ?) In any case, any experienced driver will know the correct procedure in this scenario; The first course of action would be to repeatedly rev the car, while accelerating to within 6 inches of the cyclists rear mud guards. If this fails, then wind down the window and shout profanities while repeatedly blasting the horn. This will undoubtedly have the desired effect ie. cyclist wobbles about a bit then falls off, enabling the motorist to safely manoeuvre around unmounted cyclist, and all the time keeping well within local speed limits.

Problem with [i]Holier than thou[/i] posters on a forum is that nobody [i]actually knows[/i] the poster. So when someone says that they have never 'intentionally' broken the speed limit (how does that work?), or have never been drunk and disorderly, smoked a [i]rock 'n' roll riff[/i] , parked on yellow lines, engaged in fisticuffs, how are we to know if that is actually the case? In a normal face to face discussion the [i]holier than thou [/i]participant's wife/partner/friend will often seize the opportunity to say, "Yeah, but what about that time when you..." ensuring the aforementioned [i]holier than thou[/i] participant received a good egg facing. I'll wager I'm a more law abiding citizen than all of you put together ... paragon of virtue, me!.. prove me wrong

[quote name='Doddy' timestamp='1356552173' post='1911145'] Personally, i'd suggest basic repetition exercises. Start with arpeggios so that you can familiarise yourself with thirds, fifths and sevenths, then move on to the other scale tones and finally chromatics. The problem with songs, for me, is that once you realise that a 5th is ' Star Wars', then what? [b](1.)What if it's a 5th lower?[/b] It's easier to simply recognise the intervals than to apply a song to each one. If you can,[b] (2.)sit at a piano or keyboard,hold a root note and play the various intervals against it.Its easier and clearer to hear than doing it on the bass.[/b] [/quote] (1.) Errr... The Flintstones (?) (2.) Again, an instrument is required (difficult to get a piano in the car ) Of course, [i]there's no substitute to sitting down with your instrument and practising in a proper fashion[/i]. But the fact is, without an instrument to hand a beginner cant be sure that what he is humming is a P4 or P5 or any other interval. Having a related tune to reference leaves no doubt and [i]will[/i] [i]aid [/i]interval recognition.

[quote name='JTUK' timestamp='1356519522' post='1910638'] You just play them over and over until they stick. [/quote] The disadvantage of '[i]You just play them over and over until they stick.[/i]' is that an instrument is required. The beauty of using a known tune with a particular interval is that it can be practised anywhere; in the car, shopping, in the shower, sunning yourself on holiday, It can be used every waking minute of every day. I would certainly recommend it to all those that find counting sheep at bedtime a rather tiresome exercise. [quote name='ML94' timestamp='1356513667' post='1910581'] 1 - listen to the intervals again and again and again and again ..... 2 - Assign a song which has that specific interval and try singing it so it stays? in your memory [/quote] Repetition is really the only way, but by Utilizing the OPs second method the OPs first method is made far easier.

[quote name='skankdelvar' timestamp='1355872117' post='1904002'] Well, you [i]say[/i] that but surely it would also depend on the type of cheese. It has to be hard cheese. For example Gruyere or Parmesan rind makes excellent nut material. But even those as apparently 'firm' as - say - Cheddar or Wensleydale are useless in the practical sense. As for [i]brass [/i]nuts, I've always had one on my P and it's never once attracted any attention either positive or negative. Just sounds like a P. Maybe it would be diffferent with the OP's nice bass. [/quote] The discerning bass player and cheese connoisseur would adapt their basses according to what style of music was being played. A selection of cheese nuts should always be included in a bass players tool kit. Obviously if you are in a band playing dum-di-dum "I woke up this morning" type stuff, then a mature blue would be the preferred nut. However, if your musical taste is more Mausoleum or Cannibal Corpse then, while not the obvious choice, Roquefort does aid the fast staccato riffing. If you're in a Bob Marley tribute act, any old smoked cheese nut would suffice. If your in a band that includes Cliff Richard covers, then the [i]type[/i] of cheese is of no consequence, a good slab is what's needed,[i] quantity[/i] is the key here. As a side note, controversially, it has been suggested that [b]no[/b] cheese nuts of any kind were ever used on any Cliff Richard sessions... I remain unconvinced on that score.

If your bass lines only consist of open EADG and you like heaps of sustain then a brass nut would be the way to go. However, I would defy anyone to tell the difference beteween the aforementioned 'cheese' nut and a brass nut on a fretted string. If you are an open EADG merchant, then I would suggest the cut of a nut is more critical than the material... a well cut plastic nut could well offer more sustain than a poorly cut brass nut For me, nut material makes bugger-all difference. The only time I would play an open string (on a 4 string) is when I need the low E. I always fret the ADG notes..

Anyone catch them on their 2008 Christmas tour? Their special guests were simply astounding!

[quote name='tedmanzie' timestamp='1354578918' post='1887772'] i've played guitar for years. lots of years. now i'm into the bass big time - 6 months. what's the deal with vibrato and string bending (guitar habits - occasional semi tone bends), and what i can only describe as 'string knocking' - this is where you basically tap/lightly slap the strings where the snare drum hits. [b]i'm expecting mostly 'what ever sounds good' replies, but i'd be grateful of any opinions. especially vibrato. don't know if this a bass no-no, or a bass o-k?![/b] oh and one more - because i've got flat strings i've discovered a terrible desire to do this thing where you fret the note an octave higher on the same string and slide down into it. you know - a kind of fancy frill. i suspect that this is the equivalent of the pub singer warble, and considered fairly awful. ted [/quote] IMO this is the downside to online communities such as this. Imagine if BC was around in the 70s and Jaco was a member; [i]" I've got this urge to pull all the frets out of my bass and fill the gaps with putty... What do you BCers think?[/i] Or if Larry Graham asked; [i]" When I whack the strings with my thumb it makes a funny noise. Is this a no no?.. should I learn to play properly?"[/i] Who knows, we may never have heard of either of them. Style can't be developed by consensus. It's devices such as those you describe and how you apply them that will help set you apart from other players. ...So basically the answer is, 'whatever sounds good' to [b]you[/b].

[quote name='BILL POSTERS' timestamp='1354560125' post='1887392'] Great idea to have a set list of that stuff, it really is. [b]72 & 73 were great years for classic songs.[/b] Pity it was just so uncool to buy it, or to admit to liking it at the time. 'cool people' only bought albums back then, and some people sort of wore albums, carrying them around under their afgan coated arm like a sort of statement about who they were. You wouldnt be seen dead carrying a Sweet album or a Slade album. they were for schoolgirls. [/quote]Indeed they were! Not strictly 'songs' but, you could try sticking [url="http://www.youtube.com/watch?v=gfQbkFp16cw"]this in yer set[/url], or [url="http://www.youtube.com/watch?v=NGaVUApDVuY"]even this[/url]... Although, I'd be seriously impressed if anyone could even approach doing them justice.

[quote name='Big_Stu' timestamp='1354555082' post='1887308'] It'd be a tough call who could shatter a wine class the quickest; Alan Williams or Andy Scott - and they're both as capable of hitting them notes now as they did back then. I heard a story that "Showaddywaddy" got their name from the background lyric to that Rubettes song. [/quote]As I (almost) said, [i]Alan[/i] was aided by a swift kick to the nads The Showaddy thing isn't quite right. Sugar Baby Love was originally offered to the Waddys but they turned it down. The writers then formed a band for it, mostly consisting of the musicians that did the demo.

[quote name='ezbass' timestamp='1354475149' post='1886421'] Early Roxy - Virginia Plain, etc The Osmonds - Crazy Horses The Move - California Man Rod Stewart - Maggie May Faces - Stay With Me Wizzard - See My Baby Jive [b]Rubettes - Sugar Baby Love[/b] And all of the above [/quote] Played that one for a few years - I found a swift kick to the singers nads aided the falsetto.

Question: What's the difference between X Factor, Eastenders and Coronation Street? Answer: Not a lot... other than, [i]two[/i] of them don't purport to be what they are not.

[quote name='slobluesine' timestamp='1354211829' post='1883730'] [b]yeah, but i dont expect to get it from fellow musicians,[/b] fact is he's a well respected musician/songwriter round these parts, does a lot of radio, lots of albums under his belt. [/quote] I know we musicians like to think that we're all in one big club, looking out for each other... fact is, musicians are equally as adept at bullshit and less than honest shenanigans as motor mechanics and builders. At least this guy is totally honest about not paying you. I'm reminded of one particular well known guitarist who, once upon a time, had the best musicians in the business happy to play for him... now unfortunately, his reputation is such that nobody of any calibre will work with him unless they are paid up front, he doesn't like to pay so is now reliant on amateurs and third rate musicians.

You get chancers in every walk of life, who'll try to get something for nothing. These chancers don't usually amount to anything... unless becoming a double-glazing salesman is 'amounting to something'.