SteveK

[quote],Someone was once speaking to me about visiting a music college, where he was amazed by the quality of music he heard being played when walking past the practice rooms. My opinion was that if they were practicing properly, they would not sound good, as they should be practicing things they can't play as opposed to things they can.[/quote] It may have sounded good to you, but possibly to the student and tutor there may have been vast room for improvement.

[quote]I for one would advocate learning theory, harmony, chord construction etc.[/quote] As I did at the beginning of this thread... However, I realise now that I was wrong. Repeat after me: [b][size=4]Theory is bad - very bad![/size] [/b] There's far too much competition for the decent gigs as it is.

[quote]what nuggets of theory are most needed for an average bassist?[/quote] For an [b][i]average[/i][/b] bassist?.. none! .. For an [b][i]above[/i][/b] average bass player... [quote]are these nuggets collected together in any one book, or website?[/quote] As mentioned, you could start here in the "Theory & technique" forum. I'm sure there's plenty there to keep you going for quite some time. [quote]I'm sure I read somewhere that some very, very talented musicians can't read music, let alone understand the theory.....Mark King comes to mind?[/quote] Yes, and...what's your point?.. May I refer my fellow BCer to post No 24 of this thread.

[quote]I look at the fretboard as a grid and remember the changes as almost geometrical patterns.[/quote] If I understand correctly...it sounds like you are seriously restricting yourself. ie, confining yourself to that "grid". [quote]A couple of days later I get a call from the teacher, telling me never to contact him again.[/quote] Result!

[quote]ever considered the viewpoint that knowing theory may well cloud your judgement, cause you to overthink things and base your lines on what your told sounds right, rather than what your ears thinks sounds right?[/quote] OK, I'm going to make a wild guess, your music theory is, at best, limited? Not sure what you mean by "what you're told sounds right". By knowing a bit of theory doesn't mean that your natural feel/ability goes out of the window. You don't forsake one for the other.

[quote]when the key is already D. He said the first chord doesn't matter, as the song is in C, so I need to go up a tone. Cue embarrassment.[/quote] [quote]I know I've missed out, especially on getting more work,[/quote]You yourself have quoted 2 very good reasons for learning (at least a bit of) theory. [quote]I was just wondering if other players feel a bit daunted by a lack of theory. [b]I believe Jimi knew nothing,[/b][/quote]I assume that the above quote implies, "If Jimi can do it, so can I". This is a common but dangerous attitude for a musician. Most non-theorists will reel off names of great musicians who don't/didn't know any theory to justify their stance. Don't assume that you are one of these geniuses...the chances are that you aren't.

Maybe, if you're playing a line way up the neck that relies on pull-offs to an open string... Otherwise, it's just says "look at me...I'm crap" Happy New Year to all BCers Edit: Post taken too seriously. Edited to add smiley thing

I'm reminded of a support act we head many years ago, from Canada, she had a hit with a song something to do with a dark, soft cloth. I remember we were sitting FOH to hear them sound-checking. Drummer played a bit - we looked at each other - Wow, great sounding kit. Guitarist played a bit - again, we looked at each other - sounded great. Bass player played a bit - sounded like thunder, fantastic, this is gonna be good! They then played a song together...at least, I think it was together, couldn't really tell. The sound was probably akin to sticking your head out of a train window doing 210mph. No real moral to that story, other than... it's a very well getting "your" sound, but if it doesn't sit with the rest of the band, then perhaps a rethink is in order. If you're one of those that is forever trying new gear, looking for (what you hope is going to be) "your" sound, then, I think, perhaps a look a your technique [i]may[/i] pay more dividends.

[quote]Damn that sounds good. Bet it wasnt cheap though :-)[/quote] £1,800 I must admit to having been slightly apprehensive. It's the first bass since about 1979 that I've actually paid for. In those days you got to try the actual instrument that you were interested in. Nowadays, it seems there are fewer shops, with less stock, but more component choices available. Shopping online is the only real option. Anyway, fingers crossed!

[quote name='maxrossell' post='694035' date='Dec 26 2009, 11:23 PM']What do you want to know? I don't have all the details, but as far as I know Ibanez were doing a bunch of artist showcases at the time (Korn had just put out the K7s and Ib were all about the nu-metal), which is how Japanese fans started to get into them. They weren't distributed or marketed in the Far East at all, but that all changed based on the response to Ibanez pushing their music.[/quote] Sounds to me that we are in the realms of promotion and sponsorship. I don't think that any artist entering into a "regular" endorsement deal can expect anything like that level of involvement. However, I am willing to accept that there [i]may[/i] be exceptions, and maybe your example is one of them. Anyway, I don't want to labour the point any further, so I'll duck out... for now.

[quote name='maxrossell' post='693958' date='Dec 26 2009, 08:22 PM']Okay, one example: A French band I used to hang out with called Pleymo, got signed to Epic. Their guitar players picked up Ibanez endorsements after a while. Through the Ibanez endorsement alone, their second record broke in Japan and they ended up touring out there and doing extremely well. Their second largest fanbase is still in Japan, and they wouldn't have achieved that without the support of Ibanez.[/quote] Any more info? Curious to know how that worked.

[quote name='maxrossell' post='693849' date='Dec 26 2009, 05:43 PM']I don't think that that's necessarily true. Unless you're Jimmy Page or Slash or someone like that, you'd have to be pretty naive to think that you wouldn't benefit from a major brand basically saying "this dude is a guitar player with enough talent and status that we want him to represent our gear". Fender are a good example of that, they have hundreds of endorsed artists, and most of them are guys who, while they no doubt enjoy getting gear at cut-prices, also benefit to a degree from the credibility that they gain from being a Fender-endorsed artist.[/quote] Of course, I can only speak from personal experience, and the experience of others that I work, and [i]have[/i] worked, with. It's a buzz being associated with a brand name, of course it is, but I can honestly say, that in all my years as a full time gigging musician, I have never heard the words "raised profile" or anything like in regards to an endorsement. Any benefit in that respect is pretty insignificant. It really isn't a consideration.

Ordered a SR 5: Candy red (matching head), Rosewood board, black scratchplate, HH, 3 eq, piezo, a couple of months ago. Haven't seen that configuration in the flesh, but hoping it looks a sexy as in my head. Hopefully take delivery in a couple of weeks

Blowtorch?

[quote]Not really, no. The term endorsement explicitly signifies to voice approval of something. An endorsement deal literally consists of an association between two people where one or both of them benefit from one or both of them lauding the merits of the other. In most of the cases we've discussed above, what we have is in effect a sales agreement. Not an endorsement deal.[/quote] Don't necessarily disagree with you there... [b]But,[/b] you said: [quote]Endorsement deals are supposed to be a collaboration between the artist and the manufacturer, to raise both profiles in a mutually beneficial way.[/quote] Most artists I know don't expect to have their profiles (significantly) raised as a result of an endorsement. They just expect to be supplied with gear FOC (or at a reduced price) in exchange for a photo with said gear and/or a quote, "I use Skank basses because...". As has been said, the OP didn't have an "Endorsement", but received goods at a pretty good (in my book) discount, a "sales agreement" if you like. Quite obviously there's a big difference. Having read through these posts though, I've decided that if anyone approaches me with a quality instrument, and dares to suggest that they are prepared to knock 30% off... they will get the sharp end of my boot... I know my rights!!

[quote]If a guitar maker tried to sell me an "endorsement" deal on the basis of nothing more than a discount on their high-end range, I'd tell 'em where to go.[/quote] And that would be the end of the story... no problem. [quote]Endorsement deals are supposed to be a collaboration between the artist and the manufacturer[/quote] An endorsement deal is whatever the artist and manufacturer decides it should be. [quote]I met a drummer a while ago who had just taken delivery of his new kit from some manufacturer or other on the basis of an endorsement deal. They'd given him a 20% discount (from RRP, not trade, so they weren't even spending any money). In exchange[i] [b]he agreed[/b][/i] to feature their logo on their myspace[/quote] Note highlighted text. In my formative years (musically speaking) if I was offered a 20% discount on a product that I liked, and maybe would have bought anyway, I would have snapped their hand off. And to use my name or picture [i]anywhere[/i] in their blurb would have been the icing on the cake. Unfortunately, if no one has heard of you, then, the chances are that you aren't going to be of much benefit to the manufacturer. The deal offered will reflect that. You either take it or leave it.

[quote]but even D (or Eb)is too hard!![/quote] Then what is wrong with C, B, Bb or A? There is no right or wrong key. As I said, choose whichever key feels/sounds best to you. BTW There is no "trick" as such, but if you're serious about singing, then you may want to consider a vocal coach. There are exercises that will increase your range.

[quote]any "tips" guys?[/quote] Yep! Change key. The most important thing is to find the key that allows you sing the song the best way that you can. I think most singers would have a problem singing Police/Stings songs in the original key.

[quote]everything sounds sweet on the A & E strings but when i go up top for some fills or mini riffs the sound kinda gets lost[/quote] Sounds to me like an EQ problem. Are you sure that you're not cutting too much of the mid/upper-mid frequencies to get your "VERY bassy" sound?

How do you improve on perfection? There's never been a sexier shape than the Strat, Precision or Jazz.

[quote]I should have a wiring diagram based on the original configuration. If I can fish it out I'll PM you the mod (very simple, but off the top of my head I can't remember what wires you have to cut & move, failing that I'll hoy the back off the fretless & send a pic).[/quote] Thanks Pete, I would very much appreciate that...if it's not too much trouble. Cheers, Steve

[quote name='Shaggy' post='652258' date='Nov 12 2009, 08:29 AM']There was a time when if you watched TOPTP almost every bassist had one of these...... Love that double-neck! [/quote] You mean, rather like this...[url="http://www.youtube.com/watch?v=oPKDS5QP0Tc"]TOTP[/url] That's one devilishly handsome bass player, don't you think? Still got the bass. Anyone know where I can get the electrics looked at?

I am embarrassed to say, it's been 30 years since I actually [i]bought[/i] a bass (Aria SB1000). Been fortunate enough to have been given a few in that time though. To ease my embarrassment, I should add that I have a Stingray 5 on order (3 months to deliver )

My basses have been in more aircraft holds than I care to remember. Not once have I loosened the strings - Not once have I had a problem. More important to use heavy duty, well padded flight cases.

[quote name='beerdragon' post='637936' date='Oct 27 2009, 02:17 PM']Nah i'll go with Manfred Manns Earthband.[/quote] Aww, shucks! I saw this thread yesterday, but didn't feel that I had any worthwhile advice. I started playing bass full-time in 1974. But, didn't really consider myself as being professional until about 1980, when I got my first "proper" gig with Hazel O'Connor, touring the UK, Europe, the US. Since then I've been lucky enough to have rarely been out of a gig. As beerdragon rightly says, I'm with Manfred Mann's Earth Band, and have been since 1985 . Even after 24 years with MMEB I still consider it a privilege to work with such great musicians and singers. During those 24 years I've played with some other artists, even doing a couple of weeks (depping) with Bucks Fizz (about 1994). Re: getting on in the business. Aside from the obvious, the most important thing is; you do need to be able to get along with people. I would prefer to work with a slightly less accomplished musician who was easy to get along with than a better musician who was a pita. Steve