neilp

Is it just me or is that bass completely lop-sided? My brain is shouting "plywood" for some reason. I'd like to bet it's not 1880, thats for sure

Find a Cort B4FL. Unlined fingerboard, Bartolini pickups and preamp and great build quality. Also very light and plays beautifully, great mwah.

Nothing to say, except that any musician should be able to control his volume. There's absolutely no excuse for it

Cast your minds back to all the "Guitarist telling me what/how to play" rants. Seeing a slight case of pot and kettle? What if the singer said to you "you shouldn't need frets, You should be able to do your ting without help to keep you in tune"?

Runs away to hide

I only buy CDs. I won't pay for a download, because you never own the content, you buy a licence to listen to it, under actually very closely controlled circumstances. I own my CDs, nobody can delete them or mess with them. I have around 3,000 CDs now, and believe me the CD player is not dead, any more than the turntable is.

Anything with Chris Martin credited

What is all this "should" nonsense anyway. I will buy the strings that work best for me, on my basses. If they cost £70 a set, I'll pay it. The strings I use on my double bass cost £300 a set. I don't quibble.

HOWEVER... I really don't care what anyone else chooses to do, at the end of the day it makes no difference to me...

Tyres, on the other hand.... Your tyres might kill me one day, so I do care

Where tyres are concerned, the value of the car is utterly irrelevant. You should ALWAYS buy the best tyres you can afford. If you buy cheap you get cheap. In my opinion, strings are the same

I wasn't suggesting it was a struggle as is, I was suggesting it would be better. There's a difference.

And if the singer can't manage a semitone higher, it's probably already too high. Still, what do I know?

Also the only person I've ever heard Jimmy Page talk about with genuine respect and affection....

It is the band's job, yes, that was exactly my point

Are people - particularly people who have actually paid to be entertained - not entitled to expect to be entertained? And if they're not being entertained, surely they should be allowed to have a nice chat? When I play classical concerts, whether orchestral or chamber music, we are generally giving people what they want and have paid for, so they pay attention. If I'm playing in a pub, where the punters may well not have paid, or even be expecting a band, I might well expect that we'd have to do something to earn their attention and/or respect

That looks well dodgy to me. The feet of the bridge should be centred on the inner nicks of the f holes. That's the way it's always done. If it's not like that, it's either been knocked or it's been set up by someone with absolutely no knowledge of stringed instruments. get it sorted ASAP

A lot of the tempo issues are down to rehearsals. If you stop when the song is too fast/slow and insist on starting at the correct tempo, you'll all get used to it and find it easier. Then all you have to do is concentrate and listen....

I use a metronome all the time in practice. Slow practice is a huge part of my practice routine, comes from way back in RCM days. There was a massive emphasis on practicing things "right", so practice at a speed where you can play correctly, then up the tempo until you can't, then back off from there. I have NEVER used a metronome on stage for any performance, ever. Why would you?

How do you prevent your violin being stolen?

Put it in a viola case

Sorry. I love the viola, and viola players are the salt of the earth, but there are so many great viola jokes

9 hours ago, TrevorR said:

Hardly trading a boat anchor for a featherweight though... my SB700 weighs pretty much the same as my Wal!

 

PS Keep the Wal!

Very true, they're both fairly heavy. Maybe buy a nice wide strap and keep the Wal?

The only bass I like as much as my Wal (Custom Fretless) is my Aria SB1000 fretted. Totally different animal, but equally rewarding to play

On ‎20‎/‎03‎/‎2018 at 07:38, bazzbass said:

no eye contact at gigs? man that IS weird

you did well to leave.

send them an email saying that your basslines are yours and their new bassist HAS to write his own

Really?? Basslines to songs that aren't yours??? Why? What possible benefit is there for anyone involved if you take that approach? Just walk away.

Quote

On ‎18‎/‎03‎/‎2018 at 10:07, Rich said:

A few of my favourite hacks:

Mains IEC chassis socket mounted permanently in the side of my 4U rack case, just under the handle so it's protected from accidental bashes. This in turn feeds the mains 4-way inside the case. Makes setting up even easier.

I carry a 1ft square piece of 1" foam inside the rack, which allows me to store the bag of mains/speaker/misc cables inside the rack without them rattling around damaging things. At gigs, the foam goes between the cab and the amp and stops vibrations. The cable bag itself is an old school PE kit drawstring bag. Ideal size.

Kiddie's night light plugged into the rack's 4-way. Provides enough illumination inside the case to allow me to plug stuff in without fumbling around.

 

My Rack is set up very similarly, but I have tuner and compressor in the rack, all plugged up, and my Smoothound wireless hidden in the back of the rack case, again all plugged up ready to go. I have a snake that I made up to go to my pedal board.

Set up consists of taking front and back covers off the case, putting it on top of cabs, plugging speaker cables into cabs, effects send/return to pedal board, pedal board power to the rack, then one mains plug. Switch on, hey presto

In fairness, and to give some kind of perspective, when I stopped actually spinning spanners for a living and moved into management, I sold around half of my tools and realised around £26k. What I have left is probably at least another £20k, so £35k or so in musical gear doesn't look quite so extreme!

Why do people feel the need to lie to their partners about the cost of their gear?

Double bass, two bows £20k

4 electric basses, amps, cabs, pedals, recording gear, mics etc probably £10k

Too much? No, I know musicians with far more money sunk into gear, and many more basses that never get played...

8 hours ago, project_c said:

How would you know how artists work? Are you an artist? Do you speak for all artists? Picasso, Kandinsky, Chagall, Georgia O'Keefe, Raymond Pettibon and a million other painters all used music as an integral part of their work. Let me know when you think you know about how art works better than them, before going anywhere near my backside.

The good thing about being a human is that we have a whole range of senses that we can utilise in whatever way we like. You're implying that if you use your eyes, you switch off your ears, which is stupid. Why not use both? That's what they're there for. You look at sheet music, don't you? Does it make you an inferior musician?Most of us combine our various senses to perform activities, they don't need to be used in exclusivity. It's a flawed argument. The intention behind it is valid, but it's flawed.

 

Talk about deliberate misrepresentation. Bored now. I have plenty of knowledge of art and music to be able to offer an opinion, including time spent at the Royal College of Music being taught by the very best, and my experience is that your eyes are best used to keep yuorself connected with your fellow musicians, and the best way to stay in tune is to use your ears, and to practice. Short cuts like fret lines are fine, if you just want to do it "adequately", but don't help you to become fluent and musical. Please yourself, you obviously know more about this subject (and me) than I do.

17 minutes ago, Count Bassy said:

I actually have quite a good ear, and can tell when I'm not in tune. The problem is (for me) is that having played very little fretless, and for big jumps  (e.g. the All Right Now solo part), I can very easily end up out of tune. Of course my ears tell me its out of tune, but by then it's too late. I imagine that having lines would help in this situation.

 

 

Not anywhere near as much as you'd think, actually. You have to learn the interval anyway, the lines are a distraction. Try it, give yourself a week of focused, directed practice and you'll see.

11 hours ago, project_c said:

..But you do use your eyes to make music. You make eye contact with other musicians, you read charts, you occasionally check that your hand is in the right place, and that you're not going to fall off the stage.

And plenty of artists use their ears to paint, especially when music is the inspiration behind the painting. 

You need to stop with the Jeff Berlin. People have different ways of achieving what they need to achieve. If unlined works for you, brilliant. For other people - especially visual people - visual triggers might be more important than you realise.

Fretlines do not affect the size of anyone's penis. Using ears is great, using visual cues is also great. It just depends on what your goals are. 

With respect, what codswallop. If you're using your eyes to keep you in tune, you can't be using them for watching other musicians. You need to stop denigrating the tried, tested ways. Yes you can achieve what you think you need NOW, but further down the line the fact that you cut corners and relied on lines will come back to bite you. If lines were the way forward, trust me, I'd be using them. So would every string player in the world. They don't help you develop a technique or an ear.

And as for artists using their ears to paint.... a bit like suggesting someone uses their backside to talk