Eight

[quote name='Al Heeley' post='439866' date='Mar 19 2009, 11:11 PM']thx guys, yes the bass records, but the midi keyboard attached does nowt. Is it worth trying to get hold of a copy of Ableton? My brother has a big library of such software as he works in the business.[/quote] The midi keyboard probably won't do anything at this point. Have you created a midi track (I think Cubase makes a distinction between audio and midi tracks but I could be wrong here, running from vague memories) and told it to use the midi port as its input? Then you record midi data (probably won't sound anything but you should see notes appearing). Amplitube is normally inserted as an audio effect. So you have your audio track (which the bass records to) and then you add Amplitube in as an effect to that track. Inserting it will possibly create other tracks for the outputs but that depends on the sequencer. I'm not going to lie to you - there are a lot of happy Cubase users. I happen to disagree strongly with their point of view but that's just me. Ableton is easier to use and is more inventive; personally speaking as you're not attached to any software yet then I'd switch to Ableton Live.

[quote name='Gman' post='439803' date='Mar 19 2009, 10:05 PM']LOL....think I'll stick with my magic ears and general blagging to get me through the rest of my bassplaying life!![/quote] Hell if you have magic ears then all this theory sh*t will probably be a lot easier for you. Get stuck in son.

Ok cool. So you've got input and output. That's usually the first hurdle with Cubase. I had a dodgy copy (as a trial honest) and after setting it all up and getting sound in, it locked and forever refused to talk to my audio interface. That's when I bought Sonar and life became a little sunnier. Have you tried creating an audio track and actually recording the bass? Again, don't worry about the plugins yet.

Assuming it is enabled, are you able to import an MP3 (or wav file or something) and play it out of the card?

Um... where to start answering this one. I don't know about tutorials - but I'd imagine if you search Amazon you'd find some sequencing with Cubase type beginners books which will usually cover everything you need. I guess the first thing is to get your interface up and running. Forget about Ampltiube, EZdrummer etc. until you know this step is covered. If I remember rightly, the X-fi is a consumer soundcard not an audio interface but should still work. Is the card enabled for input and output in Cubase's device settings? IMHO Cubase is 'orrible. I know people disagree but I'm entitled to my opinion. If it was me, I would consider changing to a version of Cakewalk Sonar or Ableton Live.

[quote name='Gman' post='439201' date='Mar 19 2009, 01:24 PM']Or am I just the musical equivalent of the village idiot? [/quote] Nope, you're just asking a different question from that which the presented info answers. Here we're just talking about working out what are the default sharps and flats of a key that you don't know by heart. You're wondering about figuring out a key from an existing piece of music; and that's tricky. But you want to look at the notes that are in a chord as opposed to the chord itself. e.g. The chord progression: C, F, G - stock 12 bar pattern. If you played it as triads (three notes per chord), wrote down all the notes present in that you'd get C, E, G, F, A, B, D (in order with no duplicates). No sharps or flats so it *could* be a C major. The key signature wouldn't have any sharps or flats on it. Something like Dmaj, Gmaj, Amin (just randomly thinking here) you'd have D, F# A, G, B, D, C, E - one sharp. So it might be based on a G major key. Unfortunately it gets more complicated when you start chucking in relative minor keys, key changes and notes that people just decide to play sharp or flat for various reasons/styles.

[quote name='High score' post='438990' date='Mar 19 2009, 10:17 AM']sorry, wasn't being smart..........[/quote] Oh I know mate. And I think you were right to point it out. Probably good that anyone who reads this stuff knows what its called.

[quote name='High score' post='438977' date='Mar 19 2009, 10:08 AM']Yep, very good little tip for using keys without needing all the theory behind it - this is also called the Circle Of Fifths[/quote] Yeah, wasn't sure whether to bring that term in or not. Probably should have. I'm not sure if the guy who did the presentation covered the circle in an earlier lesson (he probably did) but I thought the first question someone would ask after following the link would be "Ok, I now know Eb major has three flats, but how do I figure out which ones?" so wanted to clarify that a bit.

I have this Curbow right. Love it and its got this slap switch which gives you a kinda cool sound for slapping (apparently - I don't slap). Still thinking about buying that Curbow5 from Crez. But because I never use the slap switch on the one I already have, I wondered about changing the pickups and electronics on the 5 to something more suitable for metal. Not sure what. How easy/time consuming/expensive a job would this be? Ordinarily I'd probably think it wouldnt be worth it and should put the money towards a bass more geared up for what I'll use. However, I do lurve the Curbow reduced body and feel of the necks. Any thoughts?

In typical fashion, I was never taught this. Just made to learn key signatures and scales by memory. But stumbled across [url="http://www.musictheory.net/lessons/html/id25_en.html"]http://www.musictheory.net/lessons/html/id25_en.html[/url] this morning which is a pretty easy way of quickly figuring out how many sharps/flats are in a key if you know the number in seven basic keys (C,D,E,F,G,A,B ). - - - This bit is just for theory newbies and clarifies something You still need to learn the order of sharps/flats. But thats pretty easy too. Just leard the sequence F C G D A E B. For sharps: F C G D A E B So 1# = F, 2# = F,C, 3# = F,C,G etc. This is the order they're written in on the key signatures in standard notation. For flats, read it backwards So 1b = B, 2b = B, E etc. Oh and watch out for G# major which has 8 sharps. It wraps around so you go F#, C#, G#, D#, A#, E#, B#.. and then hit the F again for that 8th. F# + # = F##. = F##, C#, G#, D#, A#, E#, B#

If its shared money then it isn't right you all have to fork out because he wants to have another crack at something, when its perfectly fine as it is. Obviously sometimes you probably need to humour individual band members to keep harmony (yuk yuk yuk) but other times you need to be pushing forward. Spend the money on getting it mastered maybe?

What do the rest of the band think? I say just put them up, leave them up and say when he's done noodling around you'll replace them with the new versions.

Lovin' the hat stand at the back there. That Epiphone seems strangely attractive - not usually my cup of stuff but I like that one today.

If you're talking blues, you're walking blues. Something like Building Walking Basslines from that Ed guy might help point you in the direction. Edit: Sorry, not online but you can buy it online so there ya go

[quote name='Rich' post='437674' date='Mar 17 2009, 06:57 PM']It's not a case of "if it's good enough for [i]X[/i] it's good enough for me" at all.[/quote] I've heard that often enough though. (Not from you). Well... looks like we ran off arguing a slightly different point.

[quote name='jakesbass' post='437622' date='Mar 17 2009, 05:52 PM']Not my intention, the sentence I attributed to your quote was the one stating I felt you used good logic to support your argument.[/quote] Ah cool. I think the reputation of music theory has been ruined by the old school piano teacher type person, who looks down on anyone who doesn't want to learn every nuance of theory and just enjoys playing (and may do pretty well for themselves in that). I thought they were a dying breed, but I wonder if Berlin is one of them. That kind of attitude does nothing to encourage people to see theory in the right light and to consider it for themselves. You just get people's backs up. Edit: Forgot I wanted to say that how you judge yourself is regardless of whether you choose theory or not. Its important to be able to be realistic about your abilities, know where you're weak and choose whether to do something about it. I can no more judge my potential based on Bach's knowledge of theory than a non-reader etc. can judge theirs based on Jimi Hendrix. Edit 2: I realise Hendrix placed that hideous six stringed instrument, not a respectable bass such as the fine folk here.

[quote name='queenofthedepths' post='437360' date='Mar 17 2009, 03:01 PM'][url="http://en.wikipedia.org/wiki/Continuum_(instrument)"]a keyless keyboard?[/url] Sadly I don't have one, but now you've said it, I really want one![/quote] GGGAAAASSSS!!!!! Lol. I think my days as an aspiring bass player could be numbered. I think I'll be a professional continuum player instead. [quote]I think theory is a shortcut because it gives you some more of the tools to write music. Theory won't actually allow you to play any of the notes you couldn't play before, but it takes a lot of trial and error out of writing music.[/quote] You can certainly use it as crutch or a shortcut I suppose. I know I'm no musical genius... (don't cry for me, its ok)... so to be honest, I'll use any and all resources available to me to be the best I can be at something. I don't follow rules, but if someone else has done all the trial and error and wants to tell me their opinions then I'll listen and try to incorporate what I agree with, and investigate what I don't.

[quote name='Crazykiwi' post='437322' date='Mar 17 2009, 02:32 PM']They were so last week though. [/quote] LMAO. I think its dangerously close to the truth.

[quote name='queenofthedepths' post='437313' date='Mar 17 2009, 02:24 PM'] I really have no idea what you're on about! My main bass is fretless![/quote] If anyone on here had a fretless guitar or keyless keyboard, I'd bet it would be you. [quote]I meanttt that those who don't actively learn theory are still picking up influences from what they listen to. Learning the theory would actually be a shortcut.[/quote] Ah, sorry, I misunderstood your point there and totally agree that you pick up influences without specifically studying the theory behind your favourite music. I wouldn't regard theory as a shortcut if applied correctly (not saying I do, or I can) but its a different dimension and doesn't replace listening to the records that make you tick. Edit: would just like to reitterate that I'm not supporting Jeff Berlin here. I'm a fan (not an expert) of music theory, but am publically distancing myself from that one particular preacher.

[quote name='queenofthedepths' post='437279' date='Mar 17 2009, 01:59 PM']And a lot of the time these people are subconsciously copying their theory from the music they listen to, so they've got a load of half-baked ideas without even realising it.[/quote] You shouldn't learn music theory because there's a chance you might come across part of it that isn't right? Edit: you get its called "theory" for a reason right? You make your own mind up as to which bits you like and which bits you don't. Or do you mean the classical guys got half-baked ideas from half-baked music, whereas the things you listen to are free of these imperfections and fit to influence/inspire you? BTW If you play a fretted bass, then your instrument is based on the half-baked ideas they came up with.

[quote name='jakesbass' post='437184' date='Mar 17 2009, 01:13 PM']The trouble with this argument is that those that are happy having a good time in music feel attacked by people who take it more seriously.[/quote] You're tarring me with someone else's brush. I've never said you should learn theory/read/study anything. If you want fun then you get it where you can and more power to you. My pov, is against the people who claim to take it all seriously and believe they are part of an elite magical creative force capable of revolution without any of the knowledge that has been built up over centuries by a huge number of talented musicians. Their justification for this, someone (a hell of a lot more talented and creative than they) once managed it.

[quote name='bilbo230763' post='437060' date='Mar 17 2009, 11:43 AM']I think the quantifiable 'success' of certain named individuals is no indicator of the best route to take.[/quote] Agreed. The argument that so-and-so never read/learned anything/practiced etc. doesn't mean you don't have to either. If you're reading this, I'm willing to bet you're not a musical genius. In which case, basing your musical education on the activities of 0.001% of musicians might not be the soundest advice. If you're one of them, you'd already know it by now and wouldn't be here reading this thread to worry about it.

[quote name='The Funk' post='436304' date='Mar 16 2009, 05:04 PM']I also think it's disgraceful how little emphasis any of these institutions place on rhythm and melody.[/quote] Melody is dead, didn't you get the memo? Pretty soon it will be removed from tuition/theory books and those titles that talk only about melody e.g. Melody - How To Write Great Tunes (by Rikky Rooksby) will be burnt. Anyway... I'm no fan of this Berlin guy. Seems like a jumped up git to me - but I have some sympathy for his point of view there. If you want to [try to] understand how music works beyond the confines of your own instrument and ability, then theory is for you. It is afterall, what theory is all about. Otherwise, do what makes you happy - and just hope that in the future you don't need to try and learn it all in a hurry. Bite size pieces = easy, the whole caboodle in one go = not easy.

Wood is sooooo fifteenth century. Go for [s]luddite[/s]... luthite.