Bit-Crusherrr

Recently I started undergoing tuition for classical composition and have had the opportunity to sit in on some composition and harmony classes at the University that I graduated from last year. One thing they recommended for getting to grips with theory is to starting playing things on keyboard or piano, for aural as well as written skills. What I'm starting to wonder is, is writing for other instruments on keyboard, even my primary one, a bad thing? I'm looking at Jazz for the sake of improving creativity and possibly improvisation (though I doubt I'll ever be a pro Jazz player), but for writing long passages that run up perfect 4th intervals in amongst different octaves for example, keyboard seems like a better utility. Now don't get me wrong, bass is my primary instrument, and I have a good technical grasp having played in a technical death metal band for a year recently, but when it comes to working out using triads, intervals, scales, etc. keyboard just seems the way to go, well, at least until I have fluently learnt every note on the fretboards position instead of just fret number and string (a difficult nut to crack after nearly 6 years of habit). Is there anything I should be weary of or do other board members have an opinion? Many Thanks BC

[quote name='dood' post='637152' date='Oct 26 2009, 06:24 PM']Yes you can. Not so much 'bi-amping' as that's something different - but the X3, like the XT have dedicated outputs that can be configured for your application. There are a set of XLR sockets for your DI to PA and a pair of 1/4" sockets for plugging straight into your amp. In the Output menu, you can choose how you have connected the amp in question. Either to the front input, or to a power amp directly. In the case of connecting to the effects of a combo, I would select the 'connect to power amp' configuration - as the effects loop is bypassing any preamp section on the combo (in *most* cases but not all).[/quote] Thanks to the advice, I think I have now found my ideal setup for the meantime: LINE 6 X3 LIVE T.MAN TA600 MK-X POWER AMP, 300W/4OHMS, 200W/8OHMS PEAVEY 115TVX 8OHM 200W/8OHM, 30-3.5kHz (need as low as I can get considering I'm down to F# =/ ) A bit over budget at £679, but with a "head" that I can use for noodling on guitar with, and a superbly clean signal, it ain't bad is it?

[quote name='dood' post='636422' date='Oct 25 2009, 07:56 PM']My only question for all those out there, is what is it like, on its own, for live use? >> As with any Line6 unit - when set up properly, It's really good. The X3 is a great improvement in sounds and flexibility over the XT and previous models. There's far too much to describe - so I'd suggest downloading the user manual and have a look at exactly what the system can do. Will I need a power amp to give it a bit more of a signal boost before it reaches the PA? >> No, you'd use a power amp to 'power' a speaker cabinet should you want some backline too - which could even be as little as a wedge monitor, should you so wish Or should a good PA give me a loud enough signal? >> Hmmm!!!! This is wher ethe fun comes.. Yes - in a perfect world, you will play a venue with a nice big PA with sets of subs and monitors that as a system is completely capable of supplying you with lush bass reinforcement. ..Well, in reality, down at the 'Dog and Camel', the PA monitors can only handle vocals and the 'front of house' is the speakers the DJ uses on a friday night and are shot to pieces. I only really ever need an amp as a monitor for myself on stage, and I'm not picky about my tone as long as it's relatively smooth, so it seems ideal that I can just D.I. everything to a desk and route it out of the stage monitors. >> Sounds like a plan! - Maybe see if you can pick up one of those 'kick back' style bass combos that you could use as a monitor for yourself? GK, Hartke, Ampeg all do them 'of sorts'. Or even buy a really good PA wedge monitor? Then send your POD signal straight to the PA for them to sort out. It can work really well - but I'd defintely get used to setting the unit up for the configuration you are using, as the X3 (and XT) and different modes to work in. Thinking ahead further - if you are pretty much wanting to set up and leave - and you dont use effects and the like, how about a Sansamp BDDI, Hartke Attack pedal or similar?[/quote] Some great advice again dude! (or Dood =] ) I think I probably will get a smaller amp to borrow to bi-amp with, maybe just a combo or something, but I won't be playing small bar gigs for a while considering the stuff we play (not exactly radio friendly). But I'm glad my fears about buying an X3 have been killed. I'll probably buy one over the Sansamp due to me wanting to use it for guitar and songwriting work too, it's a great bit of recording gear to own. How would I go about bi-amping the X3? Can I send one of its outputs into the effects loop of a combo so I have a "powered monitor" on stage with me?

Hey all, I've currently been trying to budget myself in terms of buying a new bass rig, and I'm limited to around £550. I haven't needed a bass amp in a long time due to not being in a band/being supplied one by other members. At home I've just been practicing using Guitar Rig 3 through my interface and speakers. I've been considering buying a Pod X3 Live as it'll save me at least £150, and it'll save me having to cart about and store a horde of amps and heads, and it'll do for recording and general play until I can afford a new full bass rig. My only question for all those out there, is what is it like, on its own, for live use? Will I need a power amp to give it a bit more of a signal boost before it reaches the PA? Or should a good PA give me a loud enough signal? I only really ever need an amp as a monitor for myself on stage, and I'm not picky about my tone as long as it's relatively smooth, so it seems ideal that I can just D.I. everything to a desk and route it out of the stage monitors. Any and all advice appreciated. Cheers!

The Jazz Bass Book: Technique and Tradition - anyone any opinions on this before i buy it? What about books for working over chord progressions?

Thought I might as well start a books thread, (if it doesn't already exist...) can we get it pinned? Basically I'm looking to boost my creativity since I'm currently trying to digest every mode, chord formula etc that I can, but it's only good to me if I can use them, right? Can anyone recommend any good books dealing with progressions/improv/use of chords and scales? I suppose the best area would be books in these themes regarding to funk/jazz/latin. If you've got recommendations, post the name, then a - then what the book concentrates on, just so I know (and others) what it deals with in specifics. Thanks!

Ok, so here the scenario: Playing away on my 5-string (which atm has the G missing since I broke it whilst doing a pop at an audition with my band), and I'm coming near the end of my practice, so I though I'd jam out some slap for the banter. However, I know that Wooten does a pluck with his index and middle at a speed I'll never understand after slapping, so I started workin on it slowly. As I built up speed, I noticed that only my first finger maintained accuracy (bear in mind I NEVER usually practice Wooten's style), but after I had plucked the bottom string (this case D) with my index, I slammed down and across the string, with the nail of the same finger, keeping the finger in a hooked position, which gave a similar effect to the pop, by that I mean a similar clarity and loudness. Have I discovered something or is there a name for it? I rarely stumble on little things like this since I'm about 70% fingerstyle and 30% tapping. Cheers!

Awesome, thanks guys, no idea when this'll be happening but hopefully soon! Also, I've a quilted maple top on my bass, but I want to change the colour, should I sacrifice the finish or leave it as it is? Or can I even get the finish back?

I'm thinkin' of modding my bass to have a fan fretted neck on the sheer fact it looks nuts, but can anyone tell me of it's sound and/or playing advantages/disadvantages? Cheers Connor

Here's the deal my subsonic brethren: My guitarist is annoying the hell out of me... why? He won't practice at home, so his skill (predominantly) and songwriting are becoming stale and slowing down, and he's have trouble writing new material. I've written him out exercises, offered theory and teaching books (for two years, and over the course of TWO different bands, feck I played keyboards for the last one), but nah, this summer, multiple seasons of shows on DVD and Bishock on the 360 hold more appeal, and he's threw my help to the dogs. So I feel as though I should take matters into my own hands, because when your chief songwriter admits that his bass player (me) is better than him at guitar, wouldn't you be worried? I'm planning to write my own material for when he grinds to an inevitable halt, but instead of making a complicated bass arrangement, I'm planning to pick up guitar as well... One problem. I'm a note kinda guy (as expected with bass), but, since I've never really had to take up lead before, I'm rusty in a few areas. Sure, sweeps on bass as well as tapping are transferring over, but these two things are beginning to cause hassle: Chords... Every time I try to learn more about 'em, I fall flat on my face. There is SOOOO much to look at it's intimidating and can become off-putting, but I know it'd help my writing to no end. Does anyone know of a good way to start and continue on learning chords and their construction? All I know is basic triad construction, inversion and the like... that leads me to the biggie for my chosen genre: Dissonant riffs... You know when you listen to the likes of Dillinger, or The Tony Danza Tap Dance Extravaganza, or Sikth, or See You Next Tuesday, and you hear these demented, "jazzy" riffs that sound completely devoid of key, but "brutal as f***"? I wanna start developing my creativity with them. Tired of the same major/minor scalage, and I don't wanna overuse the whole tone/phrygian stylistics. Would anyone have tips or exercises on these also, or could point me in the direction of a good tab site so I can learn first hand from some of the above artists? I know I can expect to be Pin or anyone that quickly, but I suppose I need to make a start eh? Any help would be majorly appreciated. Thanks again! Connor

Right, for YEARS now, I've been trying to source the effects used by Takeshi Ueda of the Mad Capsule Markets, and I've always been impressed by the effects he uses, ESPECIALLY the pitch he manages to get in the shift he does in the track Tribe, it's a near-perfect pitch shift without managing to sound like a crappy octaver pedal, unfortunately, as much as I've looked and tried hardware, I've never found out how he did it or what could be used to get the same effect. I've been planning some of my own stuff in their similar vein but with a bit more leaning to the use of electronics and a more aggressive form of music, but primarily focusing around the bass being the key instrument. My idea was to have my bass signal split, one clean, the other taking any effects and distortion so I have still my smooth bass underlying any distorted parts, obviously both will be playing the same notes etc. The tone I'd like for it is a mix between Ueda and that of Dick Lovgren from Meshuggah, compromising distortion, an expression pedal for pitch shifting w/pitchshifter, reverb, delay etc. Has ANYONE any ideas to send me in the right direction? Thanks

[quote name='urb' post='219172' date='Jun 15 2008, 12:10 PM']+1 on Effortless Mastery - it's a great book. I think one way of getting through 'blockages' like this is to see a good teacher - while they won't fix things overnight they will hopefully, be helpful in identifying your strengths and weaknesses - I'm sure you have some positive aspects happening in your playing too, in spite of your obvious frustrations. The way I progressed, especially in the last few years is by balancing technical skills against musical ones - so I worked on my ear, alongside my chord knowledge, I also found recording myself a lot and listening back really helped to highlight what was working and what wasn't in my playing. Also what you might deem your technique - as in finger picking, scales etc - can undoubtedly be improved further, if you are brave enough to unpick what you already know and re-learn it, you will be a better player for it after. I know it sounds awful to consider, but I've done this a few times over the years, like learning new scale fingerings, and cleaning up my picking technique, and strengthening my time feel, rhythmic knowledge has all helped me become a stronger bass player. But find a good teacher, take a couple of lessons, but most importantly, become more self-aware as an individual, then you can more effectively teach your self. And lastly, get with some good musicians and just PLAY... you'll learn a lot of subconscious stuff that is just as valuable as all that home study will ever teach you. Mike[/quote] That itself is a great idea, I mean I got lessons before, but when my teach was just teaching because he had a grade 8 certificate on his wall, (I was playing grade 8 standard within 2 years of playing, not to blow my trumpet but to show the level of the teachers) I realised I would learn nothing, as to be honest, I didn't. I've been self taught nearly always, and the closest aid to music I have is a session sax player doing a jazz degree, who's played for Van Morrison, Tom Jones etc. I think ear-training and theory studying is definitely on the agenda this summer. I love the idea of playing with musicians who are at your level or better, as that way you sometimes HAVE to become better, having to do that reading or extra hour a night of practice and things like that. But, (and it's maybe a lame excuse to some) I live in Northern Ireland, a tiny country, full of hicks, and even worse, if your doing guitar orientated stuff, 90% they'll only play indie or (sub-standard at times) black/death/thrash metal. If you check my bands myspace, you'll see why I would find it hard for a teacher to help me improve in that style. I'd need the bass player from Psyopus or someone similar to help me, as it's that tapping/atonal style that I'm having to use in the band, as well as helping direct melodic content (I've written guitar riffs for us T_T). The style is a rarity where I live, and I'm in Belfast, if I don't find 'em here I probably never will! Since however, I'm more focused on developing like a guitar player, should I find a guitar teacher even though I'm on bass? For example, I couldn't care less about not being able to slap, it's redundant in my musical style, however, massive scalic passages, sweeps, tapping, that's all what I'm into. I'm happy just with finger-style and the odd slap or pop, but not a lot of bass players here use that sort of approach. Most like to w*** the frets like Flea or Mark King, and as much as it can be awesome, it bore's me if they don't take it to good use. I may have to check this book thats being mentioned also. Thanks for the advice all, anyone else any other little hints?

Thats a big help bro, thanks. I mean I wish I was gettin' into my composition again, I wanna do everything from do some electronics (as EVERYONE seems to wanna do these days) to some orchestral arrangements, and I mean my MP3 is permanently on the go in my ears so I'm never far from gathering new influence and ideas. Any tips for structuring a solid hour's practice and what to do when not, an away from the bass?

4 years I've been playing now, seems short in comparison to the whole spectrum of things, and all of it was an accident after the band I started up when I was around 16 needed someone on bass. A friend of mine's mum just happened to have a crappy Encore and a huge Peavy 120 watt 1X15 sittin' about. But now, it seems as though I'm hitting the proverbial wall, I'm practicing, and at least trying for half an hour around about 5 days out of 7 to maintain skills (life got busy the last while), but I don't feel as though I'm going anywhere when I get the full hour in. I always hear of guys maybe playing for up to four hours a day and I think, "WHERE do they get the time for that?!" 6 finger tapping, let alone 8, isn't going as forward as I thought. Sweeps are tedious as f***. My speed isn't what I'd like it to be, I mean I'm fast but I'd like to be faster. Chords are still foreign and I feel as though if I don't develop a better vocabulary in terms of theory and understanding the little secrets behind music and chord construction (A-Level music helped not one bit), I'll die on my feet and soon reach my peak, which would be a crying shame. I get jealous of seeing all these skilled players and what they can do, and the dedication they have. However, no matter how great their technicality is, I still see some awesome virtuoso players who are poor at composing, which essentially it's all about, and something I have to remind myself to keep ego in check, that music is about creating to please the self. And I'm frustrated that I get jealous, as I know I shouldn't. But for playing for 4 years, I feel I should be 10 times the bassist that I am. Granted, my genre of choice needs a technical player of a different kind, not so much chords as much timing, experimental timbres from the bass utilizing harmonics, dischords, tapped harmonics, mutes and slides. (www.myspace.com/thesearethecloudsband) So then I ask, will any new learning help this? Have any of you ever reached the point where you feel as though you have to stop and think hard? I'm trying to get into the habit of reading about music when I'm not playing it, looking up new techniques, scales, chord passages, but I tend to become lethargic about it all as time goes on. So to you all out there, what have you done to overcome your plateaus and your obstacles? What method of self-teaching worked, or what changes to your solid hour a day improved your playing tenfold? Thanks guys

Evenin' all, Spotted the forum in relation to the bassist from With The Void (Dan Veall) Only playing about 4 or so years, so kind of a newbie, currently using a Dean Rhapsody Q5 with active EMG's, hopefully to purchase an Ashdown MAG C410T-300 (been minus an amp for a while, as I was minus a band for a while an needed money T_T ) Currently playing in a noise/grind/harcore/wtf? band: www.myspace.com/thesearethecloudsband Came to the forum to look for ways to boost my ability Hello to you all ^_^ Connor