SpondonBassed

Nice. A bit like Nora Batty's stockings... Um.

[quote name='lojo' timestamp='1504875518' post='3367957'] Sure , but can you explain why a D on guitar is an E on sax , I'm ignorant? [/quote] Sorry. I can't. I was being flippant to cover for the fact that I am no wiser than you. Yours was a question that illustrates one of the reasons I don't get involved with notation by choice. Getting concise answers on notation is a bit like nailing jellies to a wall.

[quote name='lojo' timestamp='1504862716' post='3367813'] I know we are going off topic but the thing I've never understood is why the sax player is always saying his key is a tone higher than the guitar key ? [/quote] This is why the horn section [i]needs[/i] its own form of TAB. [Retires to a safe distance]

[quote name='geoham' timestamp='1504870287' post='3367885'] I've only had this for a couple of weeks - There's a bit of a correlation in that it's at its worst the day after a gig or rehearsal then gets better for a day or two afterwards. I know that speaking to a doctor would be best - I think I'll get something booked soon if this doesn't go away! Cheers, George [/quote] Best of luck.

[quote name='Steve Browning' timestamp='1504862077' post='3367806'] [url="http://basschat.co.uk/topic/242967-south-east-bass-bash-no8-surrey-saturday-1st-november-2014/page__st__210"]http://basschat.co.u...4/page__st__210[/url] This was an excellent talk at the SE Bash in 2014. I've remembered all of the exercises but must confess I haven't A-framed for a while. Well worth a look. [/quote] You have to be vigilant when A-framing wearing your Y-fronts.

[quote name='The Jaywalker' timestamp='1504869618' post='3367882'] ...I will risk hellfire from all quarters by stating that George Martin had a fair bit of input with the Beatles bass parts (he was the arranger/MD after all) and i'm told (reliably) that he wrote the Penny Lane line. Doesnt affect the music or my enjoyment of it but some folks have the Beatles pedestal thing going on... [/quote] I have a pedestal in my garden that I've seen the occasional beetle on but despite that I am sure Maccer was receptive to GM's ideas. I think he says somewhere that the fabs learned a lot from George.

[quote name='only4' timestamp='1504869174' post='3367877'] Do we know how much musical input these legendary sessions musicians had on the bass lines they played? [/quote] Where would you get that sort of information from anyway? I'd love to know too.

[quote name='ivansc' timestamp='1504850987' post='3367716'] No apologies needed, provided you are over 60. We can get away with anything. [/quote] With the obvious exception of flatulence. Never trust a fart if you are over fifty, a wise Scot once said.

Indeed but don't let your cat chew on any of your brand new nylon strings as it will result in a breakage under tension.

Sometimes I will write a TAB, usually to represent my five strings because there aren't a lot of five string TABs out there. This helps me to find fretboard positions that work best for my ageing finger joints. It's dead easy to read and write. The best thing is that there is no baggage. All of the marks I make are relevant to me alone and there are no squiggly distractions. Blank stave sheets lend themselves entirely to this. Other times, I will rewrite a printed tab that accompanies notation in a book because it follows the notation thing of Codas and tiny little marks and symbols to tell you where to go back and how many times to play it before putting a different ending on it. In essence I am cutting out all of that illuminatiesque stuff that trips me up. I'll work out the piece and write it as it is intended to go from start to finish without the confusing short-cuts. More sheets, less confusing though. That's just me though isn't it...?

Okay Ambient. See what you've started now? We had a neutered female that behaved like a tom. She was sweet natured but quite dominant. She'd see off dogs and other larger cats if they were on her patch. The cute story? I got one of those chipped birthday cards once with the Stevie Wonder type "happy birthday" sample poorly digitised and full of aliasing. I opened it, it made noise then she woke promptly and began to stalk it. When I put it down for her to look at she prodded it and it opened just enough to start it making a noise. She immediately attacked it with her teeth! It was a determined attack on the bit of the card where the chip was concealed. I took it off her and kept it closed. She failed to kill the device inside the card but the puncture holes she made were all in a tight group where it was bonded in. I don't think anyone likes those cards really. I shall revisit this topic the next time I feel less fluffy and moist than required. Thanks for the OP.

[quote name='Grangur' timestamp='1504803740' post='3367472'] If TAB is better than notation then please do feel do explain this. Also, why don't serious classical instrumentalists use it? On the other hand don't. I can't be arsed to read crap. [/quote] That's a little over the top if you'll excuse me for saying. I don't think anyone in the TAB supporter's camp suggested that TAB was better.

[quote name='geoham' timestamp='1504799121' post='3367432'] I've been having a bit of lower back pain recently, and suspect playing bass may be responsible. I've been gigging with my Lakland 55-01 recently. I don't know how much it weighs, but it's definitely heavier than both my Fenders. I took my Fender J to a rehearsal this week and will gig with it on Saturday just to see if it has any impact. (I've been gigging and rehearsing every week with the 55-01 for the past while) I love the bass, but I suspect it may have to go if I can rid myself of backache using my four string basses. I really hope this not to be the case, since I love this bass! So, to get to my point... is anyone aware of a modern, versitile, lightweight five string bass? I really quite missed the B string the other night! Another caveat is that I like the 35 inch scale and wide string spacing. (I realise I may be asking too much!) [/quote] Is it pain or a bad ache? Could it be your body adjusting to a slightly different posture with the recent change of bass? Sometimes a period of adjustment is required during which there may be discomfort. If it's actual pain, seek medical advice. It would seem unfair on yourself if you let go of the Lakland over a mere physical adjustment issue.

[quote name='Mickeyboro' timestamp='1504775924' post='3367188'] Is this something you do regularly, and if so how do you use it to improve the music? It follows on from my thread 'Playing with Pros'. The ex-pro I recently worked with recorded everything, then sent me the tracks over the internet. I found it interesting, but it led to more heat than light in the end. I'm just trying to work out if it's a concept I should try in the future, never having done it before. Views most welcome... [/quote] It's never been easier to record yourself. If you want studio quality it's something that you have to work at but still a lot easier than when I first did it. We recorded all of our jams and rehearsals in the mid eighties on four-track cassette. We regarded that as being so easy that it would be a waste of jam time if we didn't. Quality was not great but sufficient to work with. We then had a reference for discussions about improvements and changes in what we were playing. It was also useful for catching those golden moments when something unexpected but good happened in the session. Nowadays it's even easier to record so [i]why not[/i] do it? It can help you to focus on your practice time and make better use of it. I don't have a band now but I found it so easy to video myself with a 'phone cam that I often record what I'm working on and when I have a quiet moment I'll look for ways of improving my technique, stance, tone etc. Give it a go to see if you can get something out of it for yourself. It can only help if you have a project that requires you to exchange recordings further down the line.

[quote name='Grangur' timestamp='1504799450' post='3367437'] Isn't the answer to this whole discussion simply, It's horses for courses" ? If what you do is play chord tones and, I guess, work with "shapes" in a covers band and it works that's cool. Again I guess if you work in a cruise-ship jazz band with the play list changing every night, or as a session player, and need to communicate scores with a sax player, I would imagine that would bring a demand for different skills. If what you do works for you, that's cool. [/quote] Very gracious of you. Heeheehee

[quote name='dood' timestamp='1504796060' post='3367397'] ...I've delivered music projects to those with Autism, or physical handicaps; I've presented clinics to staff members for using music as a communicative device and I've worked with sufferers of Dementia. We developed a program in conjunction with the education department of a very famous concert hall establishment. The latter not feeling like work, but a very emotional journey and understanding of the effects of a range of mental health diseases, which had a huge impact on me... [/quote] Very cool. The way music is tied to emotional response is why I've always needed it around me as a sort of regulator. Better than drugs.

Welcome Nelson. Nice basses.

[quote name='ambient' timestamp='1504723937' post='3366924'] She's a very determined Siamese. I do spend a very long time each day playing, I suppose I ought to spare her more time . She jumps up on to my desk, then steps on to my knee, from there she's able to get under the neck of the bass, then between to and me. She then starts howling at me until I relent and lie the bass down on my lap. Then she goes to sleep . [attachment=253029:20637977_746880238853573_7475737249451581024_n.jpg][attachment=253030:20914628_752131321661798_9147661950633448162_n.jpg] [/quote] Aw bless. Every cat I've had has been jealous of things that get my attention. They'd try and usurp my attention to the object in ways like you've described. I could never get annoyed by it even when it was a proper inconvenience sometimes. Yours has a lovely face.

[quote name='MoJo' timestamp='1504763951' post='3367072'] I recently spotted a Zoom B3 advertised locally, on Gumtree, for £70 or very nearest offer. I emailed the seller, asking if the item is still available, to which he replied, 'Yes it is, what's your offer?'. I offer £65 and say that I can collect it on Saturday. Later the seller emails me with the news, "Yours is the highest offer Mark, it's yours". The guy emails me his address and arrangements are made to pick it up on Saturday morning. Last night I receive an email stating, "Mark, I received offers over £100, so I'm going to have to accept those, unless you can match it?" I declined. What happened to 'It's yours'? I could understand it if the listing had just said 'Offers' but I've never been in a situation where you're expected to offer a very nearest offer more than the asking price. [/quote] It's a deal breaker. If you are desperate for that pedal you'd have to make another deal and really, why would you if the chappie couldn't honour the first one? Walk.

[quote name='fftc' timestamp='1504768882' post='3367109'] The Frump, as I understand it, is not meant to work the same as an old school Motown style mute. It's for the slappers and tappers and is meant to only mute open strings and not fretted notes. [/quote] Is that the one that looks like a eighties' jogger's wrist band applied to the neck over the nut? I always thought it was a step in the direction of a leg-warmer revival. Be wary. That must be prevented at all costs. [media]http://www.youtube.com/watch?v=h1xO7RwTV4k[/media] Has history taught us [i]nothing[/i]?

[quote name='Grangur' timestamp='1504792908' post='3367358'] [media]http://www.youtube.com/watch?v=4X7qgBVnMfY[/media] [/quote] I will pass on that thanks Grangur. It's pointless since I will not learn notation. Why would I want wind myself up watching a YT vid?

[quote name='Nicko' timestamp='1504786487' post='3367288'] Yes, I get all that. But knowledge of the notes, intervals and theory is all independent of the ability to read notation which was at least the original question. In some ways learning theory using tab is more difficult (eg for C minor the standard notation will tell you which notes are flat, tab wont). You have to work backwards or remember the intervals. [/quote] I think in semi-tones mostly. I can't really think of a time when I needed to know where the sharps and flats are in a piece. Other than knowing sharp is a semi-tone up and flat is a semi-tone down I've never needed to know. I practice chromatic, major and minor scales sometimes. That's it. Like the post above, I remember dynamic shapes that sound good. If it sounds bad either the shape I tip-toe out on the fretboard is wrong or my timing is off somewhere.

[quote name='dood' timestamp='1504775703' post='3367184'] One thing that really hasn't been touched on here at all is that there is such a learning difficulty known as [b]Notation Dyslexia[/b]. Much like Dyslexia which is more understood in reading and writing it manifests itself in the same ways. As an example, even with proper reading glasses (if needed) "symbols seem to move on the lines" to quote one of my students. This is even more of a problem when looking at notation where lots of information is crammed on to one page. Even for some there's an extended moment of trying to decipher the key of B major from E major - long before starting the piece. For this reason and many of the advantages noted above I teach [i]combined[/i] Notation and Tablature. (As well as individually). I actually teach methods to help speed up Tablature reading. As an example and certainly not a description of my entire approach, I demonstrate how to improve by correcting the mistakes (covering music theory) and then making it more efficient to play (physical understanding of the instrument). Since Tablature tends not to have a set standard, other than borrowing symbols from 'standard notation', it makes it easy to manipulate, much like the way that many write crib sheets in the absence of sight reading. This has worked particularly well; some of my students have gone from the class room to gigs over in Europe. Finally, when it comes to teaching, my approach is entirely different from many, some of which I have shadowed and cringed as students have become embarrassed and tangled. I guess what I want to add here is that I guess there are more ways than one to crack that initial egg and they should all be explored and we should always keep learning. Even for those who think they know it all and are somehow better than others. Stay humble, stay positive. [/quote] That's the most interesting thing I have read in this topic. You wont thank me for saying that my first response to "Notation Dyslexia" was to type LOBBOX! but as I read on I realised that you seem to have a better appreciation of the very nub of this topic than any other member who has contributed. Respect. There are only a few teachers who I genuinely respect and today I added your name to the list.

I tthink Peter Paul and Mary have the basis for a new verse to this song... http://www.youtube.com/watch?v=ZgXNVA9ngx8

[quote name='honza992' timestamp='1504722478' post='3366914'] Ha ha ha, ironically I come from a family of tool makers. Or at least my mother does, and Archdale is the name that will go on the headstock. Admitedly they made machine tools not too relevant to guitar making, but I guess the principles are the same. [And if anyone has any memories of working with Archdale machine tools, or even more amazingly still uses one I'd love to hear about it.] [/quote] https://www.gracesguide.co.uk/James_Archdale_and_Co You have an impressive maternal heritage if this is the firm. [quote name='honza992' timestamp='1504723353' post='3366920'] Just a quick question today. I'm going to use General Finishes High Perforance as the top clearcoat on both the body and neck. It's a water based polyurethane which seems to be pretty forgiving in application (I'll be spraying it) but it lacks the warmth an 'pop-ability-ness-itude' which oil based finishes have. So, does anyone have any idea how I can pop grain under a waterbased finish? Without using dye or stain? And ideally without darkening the maple? If I can I'd like to keep the maple as pale as possible. I'm hoping the answer is shellac, so today I started doing some tests on some scrap. On the left is some Zinsser SealCoat, which as I understand is 2 pound blonde shellac. I've diluted it with meths to make a 1 pound cut. On the right is some garnet shellac, made fresh from flakes, also a 1 pound cut. [Image deleted] I'm going to try applying each of them to some maple scrap, then seeing if I can gently sand it back so that the maple remains natural in colour, but the shellac that has sunk into the grain will still pop the flame in the top/neck. Anyone know if this is going to work? Or can anyone think of any other way of poping grain but not darkening the wood too much? That's compatible with polyurethane? [/quote] I'd be inclined to try a bleaching solution on the bare wood first as an experiment. I haven't tried it but it may help keep the pale quality of the maple better once you start with the finishing coats. If the treated wood rejects the finishing coat it would not be a great idea of course so it's just a suggestion to play with.