WILD FROG SHOT

Got a Peugeot Partner Van which just passed it's MOT today with no additional work required! - Good 'ol Vanny! This was a massive relief after a kamikaze pheasant broke my non-insurance covered windscreen a couple of weeks ago; scared the crap out of me though! We can get most of our stuff in there, but our ivory-tinkler usually plays 4 full size synths, so he has to take his own stuff.

Why is the sound clip soooo rubbish? I'm pretty sure a relatively cheap synth could make the same sound. Am I really not getting the point?

[quote name='Clarky' post='469621' date='Apr 22 2009, 02:20 PM']I am very average as a bass player (can keep time and pump out 16th notes but thats about it) and went through same experiences as you did a few years ago, when I was 40. Eventually found a band via Forming Bands after a bunch of similarly disheartening rehearsals and an even longer list of rejections without try-out on grounds of my age ("sorry mate but we're all 19-21 and want to go to the pub drinking every Friday and Saturday night and we don't think you will fit in" etc). I have ended up in a band of 40-something punks who all get on well. TBH band chemistry is WAY more important than skills.[/quote] Yeah Clarky is totally right. Band chemistry almost gives you a sixth sense.

[quote name='EssentialTension' post='468876' date='Apr 21 2009, 06:12 PM']I really can't see why playing in a so-called covers band would be thought of as 'lazy' or, even more so, as a crime. Sounds to me like you're treating music as a competition. Speaking for myself I'd rather play quality songs written by somebody else than poor originals written by me. Actually, don't most musicians play songs written by someone else. I play in a covers band (not my only band) and what we do is neither criminal nor lazy. We're very hard working and put on a great show.[/quote] The words "lazy crime" were used as previous posters have alluded to younger players being sloppy and sometimes lazy in their study of general theory/technique. I was merely stating that imo it's surely better for the music industry in general if young players are exploring their own sounds/songs (even if they are a bit sloppy and aren't arguably new sounds anyway) rather than regurgitating the well defined successes of others. I didn't literally mean that playing in a covers band is lazy; more so from a creative point of view in terms that very little is new. If I had to commit myself to playing solely covers, I would imagine I'd give up bass very quickly. I fully recognise that covers bands have to work hard (an ivory-tinkling friend of mine has to know a repertoire of about 40 tracks, which takes a lot of hard work and dedication). [quote name='EssentialTension' post='468876' date='Apr 21 2009, 06:12 PM']So, according to you music is about being technically bad (as in near non-existent theoretical knowledge and not knowing what one 'should' play here and there) and having no 'standards. Don't invite me to your gig.[/quote] Hmm, maybe "good" wasn't the word I was looking for. Obviously it is essential to have a reasonable grounding in theory. My point was that on many occasions when working with someone that has been taught what one "should" play (that person being very proficient in their knowledge of theory), the end result is often disappointing, unoriginal and a little predictable. One of our guitarists literally plays by ear, he wouldn't know a major scale if it slapped him in the face. He is probably the most creative member of our band and frequently comes up with fresh new ideas (granted sometimes he needs a little structure and guidance). I fear that his playing would lose a lot of originality if he was theory perfect. I wouldn't have it any other way.

Doubt this will be the last time but, once again, music is not a competition. There are technically bad players in all generations; is it really a crime for younger people writing their own music to be below par? At least they have time to develop and improve. Surely it is more of a "lazy" crime to play solely in a covers band. +1 on the comments that bands should act as a unit rather than a group of individual fret-w***ers. I cannot really comment on nu-metal; wasn't the point to remove the face-melting solos and add some hippity-hop to get some groove back into heavier music? Also didn't it open up Metal to a new audience of kids who weren't the sad greasy-haired B.O. fuelled loners at school /adults (that never grew out of it)? Arguably, isn't being technically good (as in near-perfect theoretical knowledge and knowing what one "should" play here and there) and having "standards" the complete polar opposite to what music is supposed to be about?

Genuine quote from our drummer: "No we can't play the song at 101bpm, it has to be an even number ...not being a drummer, you just wouldn't understand" What a muppet.

I've been having a similar problem using a Stringray to emphasise the low end on our new album; ended up recording some of the tracks on my Jazz. Is there anything out there that plays like a Ray but sounds like a Jazz?

[quote name='owen' post='394550' date='Jan 29 2009, 01:53 PM']Am I the only person who has never (in 25 years) taken a back up out?[/quote] Nope, approximately 120 gigs played; never taken (or required) a back-up. In fact, never even broken a string! I settled with my MIM Fender Jazz for about 4 years before getting another bass. In October, I bought a Stingray and couldn't be more pleased; it gives me the exact mid-to-high end punch I was looking for! I probably spend a little more time with the Stingray at the moment; I think this is mainly due to exploration and familiarisation. The Jazz still gets a look in though; it has that nice low end sound that I need on some tracks. Have been considering getting a more expensive Jazz (Sadowsky or Lakland probably), but just love my crappy Fender Jazz so much - we've had some good times! (I've played a Lakland DJ4 and was reasonably impressed, but no sale. I'm sure once I play a Sadowsky I will have no choice but to upgrade... )

I play 4-6 hours a week with my band at rehearsal/gigs. I would say that like Galilee my practise fluctuates with interest. I'd say probably about 1-2 hours a night atm. With all the talk of reading music, I think I may incorporate some development on that too.

[quote name='Galilee' post='373989' date='Jan 8 2009, 01:24 PM']I doubt that you can play very fast with just your thumb though?[/quote] This was my thought exactly. I sometimes use my thumb with index finger to play adjacent strings similar to playing a Root and 5th chord but without the mud. I would like to see someone use thumb exclusively though without looking quite silly.

[quote name='metaltime' post='373607' date='Jan 7 2009, 10:33 PM']I have more gass than i think i had the whole of last year. Im supposed to be finishing my dissertation instead i sit and look at basses all day. Could just be procrastination though.[/quote] Guessing your dissertation isn't a bass-related one? I'm pretty sure they don't actually read them when marking anyway. Just write one about bass, make sure you structure and reference it properly and you should do fine. Surely there are very few people (apart from some scientists/mathematicians) who actually write anything original for dissertations now anyway. Sorry, back on topic. I have massive GAS, and am going to The Gallery in Camden on Saturday. Oh dear!

I use both, I think my general conclusion is fingers for tone and pick for speed. But then again, I can play quite fast with fingers and sometimes need a more mid/treble tone that you get from using a pick. Also I would say that it depends on which type of bass/pickups/neck you are playing at the time and what is needed for each arrangement.

Dr Matt Destruction of The Hives