SteveK

[quote name='phil.i.stein' post='1206005' date='Apr 20 2011, 03:49 PM']no, just that technology enables people to get on with things without rudimentary theory. i don't know how to make fire, but i can light the stove.[/quote] " i don't know how to make fire, but i can light the stove." Me too! I know nothing of the laws of physics, but I'm certain, when lighting the stove, the laws are being applied.

[quote name='phil.i.stein' post='1205954' date='Apr 20 2011, 03:28 PM']there is, of course, a flip-side to all of this theory argument. another thread on here, the one about electronic music. some of the best producers in this genre haven't a clue about musical theory. they just experiment. it probably wouldn't help them to learn theory either, as technology and analogue/digital 'language' is the new way of communication. traditional theory is all well and good, but is also becoming increasingly obsolete.[/quote] Theory is certainly not "becoming increasingly obsolete." Just because they haven't studied it doesn't mean that it is not being applied. I'm sure chord changes and the melodies used follow very clearly "traditional theory". They just don't know it. Unless, of course, we're talking about something totally avant-garde.

Jist of this thread: "I don't read, I just enjoy getting together with mates and knocking out a few tunes." "Oh, you should learn to read music, you'll be a better musician for it." "But I make a good living doing *enter career of choice*. I have no inclination of making a career of music. I just enjoy getting together with mates and knocking out a few tunes." "Oh, you should learn to read music, you'll be a better musician for it." "But I'm not into jazz, I have no intention of doing sessions, I just enjoy getting together with mates and knocking out a few tunes. "Oh, you should learn to read music, you'll be a better musician for it." "But I don't have the time, I just enjoy what I'm doing." "Stuff your enjoyment -[b] learn to read[/b]... you'll be a better musician for it." etc etc If I was a non reader the pompous grandiosity of some posts in this thread would put me off for life. And I'm speaking as someone who's been a pro gigging musician since 1975 Incidentally, I've done many sessions and never once got a whiff of sheet music. I've generally been left to my own devices. However, if you intend making a living doing sessions , then learning to read is a must. Don't think that applies to many contributors to this thread though.

Doddy, with respect, you're starting to come across like one of those stuffy old piano teacher ma'ams I vaguely remember hearing about in my childhood, reciting the same old mantra at every opportunity, [i]"study - scales - notation"[/i]. If someone asks, "I'm at this stage, how can I improve?" Then I think it's reasonable to suggest learning to read. I do think, however, that you have to accept that for some, that have no intention of following a career in music, being told that they should learn to read can be a big turnoff. May be there just aren't enough hours in the day for work, family, learning songs for their fun band and a bit of practice as it is. It's obviously good advice for those that want to be serious about music, but there are many that only intend it to be a bit of fun with their mates, maybe with an occasional gig thrown in.

[quote name='skej21' post='1202354' date='Apr 17 2011, 07:58 AM']Paul Westwood's 'Bass Bible' as that has A LOT of good small snippets of lines to read and means you can mix it up and change what you're playing before you get the chance to remember any of it![/quote] I believe that's the book that features my ex band-mate John Trotter on drums, great "groove" player.

[quote name='merello' post='1202103' date='Apr 16 2011, 08:16 PM'] The same as slipping in a mention or your latest book/film/album your book on Loose Women?[/quote] Latest?

[quote name='dmccombe7' post='1201858' date='Apr 16 2011, 03:05 PM']Come on Steve. I recognise your name from MM era. That was their best time IMHO so take credit where its due. I bought the best of MM a couple of yrs ago and it has some great tracks on there. Cheers Dave[/quote] ooops! Edit: You do of course mean MM[u][b]EB[/b][/u] (I hope)...I was nothing to do with '60s MM...How old do you think I am?

Don't want to come across as the party pooper here, but surely, the biggest compliment is the[i] roar of approval/clapping of hands[/i] between songs and the end of the set. I know this is supposed to be a light-hearted thread and we all like to be complimented, but these compliments usually come from small talk where the punter is perhaps struggling for something to say. Nice to hear nonetheless, just trying to put it in context.

More fretless from JG [url="http://en.wikipedia.org/wiki/Criminal_Tango"]on this album...[/url] oh, look, another familiar name on bass...at least, familiar to my mum.

The more time I spend here the more I realise - some BCers are bass [i]players [/i]and some are bass [i]collectors[/i]. Nowt wrong with being a collector. But remember though - A collector does not a player make

The last time I actually tried before buying was about 1980. Sold it 18 months later, hated it (Ibanez MC924, the only bass I've ever sold). I bought a Stingray 5 last year online - took 6 months to arrive (bit fussy about the spec), so not possible to try. I did have my reservations after ordering and wondered if I would would regret my moment of madness... However, a wonderful instrument - couple of little adjustments, then ready to go.

Just to clarify - You are a band doing gigs and Hi Heel Sneakers is part of your setlist...that's it? I do find the email a little strange. Half the bands in the world have played this song at sometime or other. I certainly wouldn't "appease them verbally and carry on playing it." In my experience, it doesn't pay trying to be smart.

I have a Stingray V and haven't encountered the problem, although I have heard of the quiet G. If it's ok on your practice combo then it could possibly be EQ related. Do you like a sound with loads of bottom end? Are the strings quiet even with the EQ set flat?

In my, nearly 40 years, of playing bass, I don't recall [i]ever[/i] breaking a string - and trust me, I ain't no string tickler. If strings break "Easily" I would suggest that the nut and bridge/saddles may need some attention. Although, If your strings are a hundred years old or if you're a heavy gauge pick player with an aggressive style, then, a string break is obviously more likely.

GustOo, Bass players have made a great living (and contributed to the bands success) by pretty much just playing 8s. On the other hand, others have made a living out of faffing about all over the song. Adam Clayton and John Entwistle are two extremes that spring to mind. A question to you: When your Job Centre guitarist plays his riff or chords, what would you [b]like[/b] to hear from the bass? What in your head can you imagine that would sound really cool? For now try recording the riffs etc, take them home, play back, shut your eyes and get a feel for the song (or how you would like it to feel). Hum something that you think would sound good and then try and learn what you've hummed. After a while you'll probably find this process becomes a lot quicker. There's no law that says that you have to come up with a bass line immediately at rehearsals, you're not a session musician where the clock's ticking. Allegedly Paul McCartney would often go home after a day in the studio and work on his parts at home.

[quote name='J.R.Bass' post='1194942' date='Apr 10 2011, 07:17 PM']I'm worried that you didn't realise you were out of tune when you were recording it.[/quote] The op put too much reliance on what the dial said - not enough reliance on what his ears said. Bottom line?...You've got to trust your ears.

[quote name='Hot Tub' post='1192996' date='Apr 8 2011, 03:57 PM']Thanks guys! Re the tuning thing - it's bizarre. My tuning is spot-on, and all the info I can find shows the song starting A then D, etc., but you're right, it just doesn't sound correct. Weird.[/quote] You may be in tune, but the track may not. Remember, it was common practice to speed up a track after recording. EDIT: Just thought, you may be too young to remember analogue tape. Engineers/producers would often speed up a tape after recording. It would add a little extra life, sparkle and tightness to the sound. Bit of a bugger when you're tuned to A440

[quote name='BigRedX' post='1192293' date='Apr 7 2011, 09:27 PM']The problem with flying with instruments nowadays is that there are no set rules, so it doesn't matter what has happened to other people previously. I would always prepare for the worst.[/quote] BA has a very clear policy. Quote:[b] "Small musical instruments may be carried as hand baggage if they are under 126cm (50in), as part of your free hand baggage allowance."[/b] Don't know about other carriers. BA is my airline of choice If in doubt check with the the airline.

[quote name='Doddy' post='1192284' date='Apr 7 2011, 09:19 PM']Then it gets put in the hold. Like I said,it's happened to me a couple of times and it was fine.[/quote] Let me get this straight... you've checked in a bass, its only protection - a gig bag??? And you collected it the other end unscathed??? Good grief, man! You have seen baggage handlers at work? Not to be recommended. BTW My, one time, main bass has been checked in and flown at least a couple of hundred times (full flightcase). Never once did I slacken the strings - and perfectly in tune the other end.

If we're not allowing fusion or jazz rock then, I've got to say, I'm still waiting. I've got loads of albums by the greats, Coltrane, Davis, Parker, Mingus et al. I bought them because I knew that in my formative years these were the guys to learn from if I wanted to be serious about music. I listened, I studied and absorbed all I could, but... ...nothing I heard pushed my buttons in the same way as a good rock song. I'm often amazed at the complexity and virtuosity in some jazz, I still listen to it, but most often it only reaches as far as my head, and not my heart.

[quote name='ThomBassmonkey' post='1191886' date='Apr 7 2011, 04:12 PM']I can't take the bass on board with me because we're on a really strict budget and avoiding all costs that we can (a flight case can be re-used indefinitely so it's not something I'd consider an issue with budget for one trip). Plus with a whole band going, there'd be too much kit between us to try and sneak it on, or potentially even storage if we did get it all on.[/quote] I certainly wouldn't advocate sneaking it on. What airline? I don't know about other airlines, but BA allow instruments up to 50" as part of your normal hand baggage.

[quote name='voxpop' post='1191793' date='Apr 7 2011, 02:58 PM']I flew to Italy with a Spector bass in the hold. I wrapped the neck and body in bubble wrap and put it in a hard case and then wrapped the case in bubble wrap and covered it with 'fragile' tape. As soon as it came off the plane I unwrapped it to give it a check over before leaving the airport. It arrived and returned without a scratch. It can be risky but you just have to be careful. Hope this helps.[/quote] I'm sure, 9 times out of 10 all will be well... not good odds though. Of course, as has been said, it all depends what value you put on your bass. A full flightcase with foam cut for your specific instrument [b]is[/b] the safest option. If it's just for the one trip, why can't you take it in a gig bag on board with you?

A full flightcase, without question! You have to see baggage handlers at work only the once to know that a flightcase is worth every penny...about £150

I'm on my laptop, so can't be sure of the little details, but, you seem to be playing it ok However, I couldn't listen to much as your tuning is well adrift.

[quote name='BurritoBass' post='1191197' date='Apr 6 2011, 10:40 PM']My understanding was you can record CDs of covers to get gigs so long as you don't sell it at gigs to make money[/quote] Can't see the problem...providing the appropriate payments are made.