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SteveK

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Everything posted by SteveK

  1. They say, "You can't polish a turd". Well, thanks to the Wizardry of Trevor Horn, that turd was well and truly polished. He turned, what was, a pretty banal song into a great record. Steve
  2. [quote]Bought a switch this morning and I have taken the pots out I'll let you know how it works.[/quote] Holey scratchplate, Batman! Many years ago (when I had more time) I did consider building my own bass, with the (passive) pick-ups wired to a tilt-switch (as suggested in a custom guitar book) and then to the jack socket...didn't take me long to realise that perhaps that would be a recipe for disaster. Steve
  3. [quote]so you buggers have got me thinking about learning a bit-just a bit mind-of music theory,[/quote] I'll wager that once you've learnt "just a bit", you'll want to go on and learn [i]a bit more[/i], and then [i]a bit more[/i]. I'll also wager that any [i]feel and groove[/i] you had prior to learning "just a bit" won't suddenly depart your body and soul. Steve
  4. [quote]i am definitely frustrated by people who dumb down on their spelling[/quote] Wonder how long it will be before someone mentions the lack of capital letter (to start a sentence) and full stop (to finish a sentence)?
  5. OK, a serious question to those that know no theory and have never had a lesson. Not meant to be at all inflammatory. Do you think that it benefits you as a player not to know any of the "boring" theory stuff? If so, how? Or, is the (honest) reason, because "you haven't got 'round to it", or like the OP, "just can't be arsed"? As I say - serious question...Honest answers only please. Back in a couple of days, just have to nip to Austria. Steve
  6. Done many NYE gigs. Usually works out at about 3x the usual rate...shame there's not a new millennium every year
  7. [quote]I always though Rick Rubin was a master producer, considering the amazing sound on some of the albums he's done, but I read in an interview that he doesn't and has no interest in knowing how to use a mixing desk. He just tells an engineer how he wants it to sound. With the description of sounds being so entirely subjective, I find it hard to beleive that he has been the one actually "crafting" the sound.[/quote]That's common practice - A good producer will be concerning himself with the music. Patch bays and the like are for the engineer to worry about...Engineers engineer and producers produce. At least, that's how it was in the olden days Steve
  8. [quote]Who uses the tone control on their bass?[/quote] I don't even use the volume control...I should just have an on/off switch. Steve
  9. [quote]Just been listening to Bowies "Singles" album, absolutely mesmerising bass lines, Ashes to Ashes, Fashion, Boys, China Girl..... WOW. Production, amazing.[/quote] Had the pleasure of working on an album with Tony Visconti (produced Ashes to Ashes and Fashion) in 1981. At the time it was kinda like working with God - knowing that this guy had produced some of the great records of the 70s. It was also my first time with a "Name" producer. I remember the buzz when he suggested that, "maybe this track could feature a multi-tracked bass section". I also remember being mightily impressed at his ability to score a vocal arrangement for one track while listening to another. As it turned out, he probably wouldn't regard the album as the defining moment of his career ... I sure as hell learnt a lot though. Steve
  10. [quote]IS IT IMPORTANT, TO LEARN all the notes and stuff on a bass,i just cant be arsed with learning all the theory[/quote] Come on!...Learning what and where the notes are on your bass is hardly theory. If you're happy fiddling about in your bedroom , then, if you "can't be arsed" there's no problem. On the other hand, if you want to get out there and play in the real world, then you're gonna have to put in a bit of effort. Imagine turning up at an audition - the guitarist says, "this one's in Bb" and you mutter something along the lines of "where the f*cks that?" Steve
  11. Edit: beaten to it Incidentally, Joe Zawinul used an inverted keyboard (synth) on Black Market. Steve
  12. [quote]Exactly what I was thinking. It does so wind me up. And then you get people trying to out-muso each other with their "how could everyone ignore .... " when it's someone really obscure. Such pointless discussion.[/quote] Couldn't disagree more... ...I'll elaborate when I get back...got a flight to catch. Steve
  13. [quote]For a minute I thought The Grauniad had taken over BC. Just two comments:- 1. Strange that whenever a discussion of 'who's the best bass player?' starts up, by the end everyone gets a mention including the guy down at the pub. Some appear more often than others of course. 2. No one ever considers the great contribution made by the upright players, probably because their knowledge is, er, finite? limited? tunelled? - fill in as appropriate.[/quote] The article [i]was[/i] entitled "[b]School of rock[/b]: Who are the aces of bass?" Guess if AC/DC had an upright bass player they would sound something like [url="http://www.youtube.com/watch?v=7mU2lJKkQ04"]THIS[/url]... Yeah, I know they use an electric bass, but you get my drift?! Steve
  14. [quote]The article dismisses Oasis entirely, which is (I think) mostly right on the money.[/quote] [quote]totally agree there, the most overated band of all time (IMO of course) yeah blur has some real nice bass lines in there, not bothered about how alex comes across but how the lines come across.[/quote] Not a fan of either band. But, at least (with my limited knowledge) with Blur I had the feeling that they were at least [b]trying[/b] to be original. Oasis just seem to deal in clichés. McCartney's contribution to the evolution of bass playing can't be rated highly enough...IMO, of course . [quote]Yes, I stumbled across this earlier today but did not feel ars*d to either add to the debate or post it on here![/quote]But, you [i]could[/i] be ars*d to tell us that you [i]couldn't[/i] be ars*d Steve
  15. They're located either under a cover on the head-stock, or the other end where the neck joins the body. A word of warning: If you decide to adjust the truss rod yourself make sure that you only give it the slightest tweak clockwise or c/clockwise before checking. overdoing it could cause serious problems.
  16. [quote]Remember, if the drummer's timing is OK, who cares about the click? Jerry Lee Lewis didn't use one.[/quote]Indeed! And a very good friend of mine and band member (Drums) has just finished a solo album. Got some great guests, including: Jeff Beck, Pino Palladino, Paul Jackson, Neil Murray and more... ...and not a click in sight! For anyone interested [url="http://www.jimmycopley.com/"]Samples[/url] [quote]Does anyone have any tips for what to listen for and actually keeping tight?[/quote] if you can't hear the hi-hat your stuffed. Steve
  17. [quote]The reason many musicians practice with a metronome is that is a very stripped down time source.[/quote] [quote]Musicians of all styles have been working with metronomes for a long time - if it didn't work or stopped the music from flowing it would have died out.[/quote]The reason metronomes have been so popular is that until relatively recently there was no alternative. If you are playing or intend playing with a drummer, then a drum box would be far preferable and less boring. For a start, It makes practising a far more enjoyable experience - enjoyable's good, right? - and, It will give you a better idea of how you will sound in a "proper" situation. 5 minutes of, [b]Dock[/b] click click click [b]Dock[/b] click click click would make me want to put down my bass and go for a cuppa tea. Steve
  18. [quote]SteveK are you sure about suggesting he play a minor 3rd scale (blues pentatonic) over a major 3rd chord (C7)?[/quote]Absolutely...try it. Not only will you sound like Eric Clapton, but you'll also sound like some [i]good[/i] Blues players (if they were bass players of course) [quote]Also, isn't the alternating half-whole-step scale the octatonic scale? With the true diminished being stacked minor 3rds?[/quote]What you describe (stacked minor thirds) would be a diminished seventh [i]arpeggio[/i]. The diminished [i]scale[/i] (whole/half steps) [i]can[/i] be called an octatonic scale, however, some pedants would argue that any 8 note scale could be called octatonic. Steve
  19. Not forgetting The Blues scale, which is possibly the most versatile of scales: C Eb F Gb G Bb You can think of it as a minor pentatonic with a b5 added. This scale can be used over Major (especially Dominant 7) and Minor chords As the name implies this scale is used extensively in Blues. Try it over a 12 bar in C (C7 F7 G7) Steve BTW A Diminished scale is made up of alternate whole and half steps, ie. E Diminished = E F# G A Bb C C# D#
  20. I'm afraid I'm going to have to disagree with most of the posts here: [quote]but if this will restrict my future progress on bass then i'd like to nip it in the bud ASAP.[/quote]It [i]will[/i] restrict your future progress. If you're serious about playing bass, then you should, as you say, "nip it in the bud". Gripping the neck with the thumb over the top [i]is[/i] bad technique. By gripping the neck you are severely restricting movement and the span of your fingers. [quote]I should be placing my thumb on the middle of the back of the neck- is this correct?[/quote]Yes, You may find that you have to have your bass slung a bit higher in order to achieve this comfortably. If you're [i]not[/i] so serious, and are happy playing roots and fifths, then, as you were Steve
  21. You say that you've been playing bass "on and off for a year now". That really isn't very long, particularly if you've been more off than on You probably need to apply yourself a little more and set aside some serious practice time. I would avoid a metronome... [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click...... Imagine that for an hour at a time...it will drive you mad (think they use it as a form of torture in some countries) Little programmable drum machines are cheap enough these days and much more practice friendly. Set it to play a simple, slow 4/4 pattern and play 1 note (C for example) per beat (known as playing 4s) when you feel that you're comfortable with that, try increasing the tempo. When you've had enough of that, take the tempo right down and try playing 2 notes per beat (known as 8s) and again slowly upping the tempo when you feel comfortable When you rehearse with your band it is essential that you hear the drums, pay particular attention to the Hi-Hat and try to lock in. It will be difficult to start with, but if you apply yourself, you'll get there. Steve
  22. [quote]I would say that if your guitarist is prone to that mistake, learn to transpose your lines! You make the whole band look sh*t by stopping a song once it's started. It doesn't matter who's fault it is, you all look as stupid as each other.[/quote] Disagree on that one. If the song is started in the wrong key, or if the tempo is way adrift, then why not stop and start again. Providing you can do it with a smile on your face, and you explain to your audience that you screwed it up and are gonna try it again...the audience will love you (even more) for it. In fact, only last week, we played in Hanau with The Hooters and Steve Lukather. During the soundcheck we decided to change the ending of a song (it needed a more elaborate ending to do the song justice). We played it a couple of times...no problem! During the gig we came to the end of that song... total disaster!!! There's Steve Lukather and his band; The Hooters, all at the side of the stage looking on...not to mention several thousand punters. After much hilarity on stage and the singer explaining to the audience that we need the practice, we played the ending again... the audience thought it was a riot FWIW It was the last gig on Lukes European tour, the hotel bar was certainly an experience...but that's a whole different story Steve
  23. [quote]Aren't they made of plastic?[/quote]A [i]kind[/i] of plastic - more likely that tough polygubbins. [quote]What are the synthsa nd RIng Mods Like?[/quote]As I said, the synth section is very good - much better than the later ME-50B Don't know about the Ring Modulator, it's not an effect I use. Steve
  24. I've used an ME-8B for several years. It's a great board. Unfortunately, it's getting a bit long in the tooth now and has moments of non-compliance Mostly use for chorus, delay, octaver, and occasional distortion with synth. The synth section is very good. It's possible to get a cracking "Birdland" intro synth sound. After unsuccessfully trawling the net searching for a replacement ME-8B I bought an ME-50B, but it really is nowhere near as good. If anyone knows where I can find a (good condition) ME-8B I'd be grateful, and willing to pay. Steve
  25. The irony is, the larger the gigs you play - the less important your rig. If your playing small pubs and clubs, then it's fairly important to have a good rig behind you, as (obviously) that is where the bass will come from. On the other hand, if you're doing larger shows, where guitar/drums and bass are fed through the PA, then your rig becomes (as far as the punter is concerned) less important. I've seen Mike Porcaro on several occasions playing to thousands, with a rig that wouldn't hack it down "The Dog and Duck" - He would pretty much rely on onstage/in ear monitoring. I've seen Dominique Di Piazza, with the John McLaughlin Trio, [b]only[/b] using on stage monitoring...he just plugged into a DI and off he went. Steve
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