risingson

[quote]You don't do any of this instead of developing your ears; you do it AS WELL AS. In fact, it helps you develop your ears because, if you are reading, you need yours ears to tell you that you are playing the right notes at the right time and in tune, not your eyes to tell you your fingers are geographically in the right place (this is particularly important for fretless players). Readers aren't better than non-readers, they are just better than they probably would be if they couldn't read. If they have bad time, its because they have bad time, not because they can read.[/quote] Exactly what I think, which throws up a lot of constraint on classical players who have been brought up on a diet of non-deviation from the score in front of them. I'm sure if you threw Anthony Jackson a robotic-looking bass sheet, he'd throw in some choice examples of good musical restraint and taste. It's all about the player in front of the music, not the music in front of the player.

I remember watching a band a couple of years ago, this bass player strolled on and plugged a lovely new Spector into an Eden rig, and sounded awful. The second band that came on after were a reggae band, the bass player pulled out this battered Tanglewood, didn't touch the EQ, and had one of the best bass sounds I've ever heard. More often than not, it's a good player that makes for a good bass sound. I've heard Peavy Milestone's that sounded great in the hands of a good player. They can equally sound s**t, so it sort of swings in roundabouts.

I'm still only fairly young but my take on reading is that it's not as important as getting your ears together, which I honestly think is infinitely more important. Every good musician should have a good understanding of harmony, melody and rhythm, if you can read then great, you'll get a lot of work doing it, but it's not the be all and end all. However... there is no doubting that the likes of Nathan East hasn't got by all these years on just ear training. Most of the big session guys like Will Lee, Nathan East, etc. can read like monsters, mostly because they've come from a classical background and then moved onto bass playing. Freddie Washington in particular is supposed to be more or less unearthly in this department. Pino Palladino is quite the opposite, saying he gets by more using his ear having never been a great reader, which is equally admirable. So it's probably not everything to be able to read... but it would help to learn if you want to be a serious player.

Sorry, forgot to mention about Tom Jenkinson. I'm a HUGE Squarepusher fan, I've been in love with Tom's music for years, but as a bass player I can sort of take him or leave him to be honest. Clearly very talented, but kind of misses the mark playing wise for me personally.

Utterly ridiculous, mostly because a lot of the venues that implement these limiters have not had them set up correctly whatsoever. It's a real irritation... we played a function the other day and me stamping on the floor at a quiet volume pushed the level into red. Imagine what a floor full of dancers and a full band would do to it. Get real... if it's that much of an issue for the venue organiser then I'd be more than happy to pack up my gear and leave... you don't get a full band in to play a gig (and we are by no means a loud band), only to turn around to them and say that we have to turn down because a badly set up limiter is telling them that we're too loud. I just won't deal with it, and I'm really glad it's been brought up.

[quote name='jakesbass' post='371665' date='Jan 6 2009, 09:50 AM']I used to borrow Steve (Berry's) flightcase so going to get it would usually involve lunch, Steve is a diamond, watch out for his kids now too they are forging ahead well in the music game....[/quote] Yeh, great musician, I love his lessons, he's got a great outlook on music

Thanks for the reply. The 212 did look good as well, I need to check the weight difference between the two although I should imagine it's a minimal factor. There's around 10lbs difference between the Eden and the EBS, which isn't so bad... just a bit of a bind if you're carrying it around everywhere for gigs and stuff. Any other thoughts?

I think I might chip in on this one... Stuart Zender was always my favourite player and Paul Turner, the new guy with Jamiroquai has an amazing feel and groove. Other notables for me would be Randy Hope Taylor, Dave Holland, Andy Rourke, Colin Greenwood for his remarkable ability to keep it simple and moving, Yolanda Charles, and particularly (most importantly) Pino Palladino. In regards to Dave Holland, he taught one of my lecturers upright for a while, who then went on to play with Mike Walker on a lot of gigs... Mike and Steve are both remarkable musicians, and have said they owe a lot to him.

Hi chaps, new to this forum but it's nice to be able to see a lot of guys from the UK posting instead of trawling through the mountains of info at Talkbass! Anyway, to business... I was wondering if anyone owning the EBS Neogorm 2x10 has any thoughts or opinions concerning the combo overall. I'm in the market for one having played one abroad in Sweden last year for an outdoors gig, but I really wanted other people's thoughts concerning reliability, sound and such having not heard one indoors, and likewise, any info on it's main competitors like the Eden Metro or even the SWR Redhead would also be well received. I know it sounds great, but I wanted secondary opinion also if possible. Thanks, Liam