risingson

[quote name='Spike Vincent' post='1076672' date='Jan 3 2011, 07:28 PM']Never,I repeat,NEVER get rid of anything with Moog written on it.You will regret it.Trust me on this.[/quote] I really would be inclined to agree with this.

I have a tear under my fingernail at the moment which proved to be difficult playing last night, but that sounds like a pretty outrageous injury. I'd be surprised if you didn't lose the nail... fingers crossed it gets better soon though.

[quote name='steve-soar' post='1075626' date='Jan 2 2011, 07:24 PM']Great post.[/quote] Cheers Steve! I'll be in touch this week about that cracking set up you offered me!

[quote name='MattCvijan' post='1075261' date='Jan 2 2011, 01:18 PM']Thank you for this post. In my dissertation im looking at the link between musical identity and racial/cultural identity, using Neo Soul as a case study. Neo Soul music appeals to people from all walks of life, racial groups, and cultures, yet it seems that the leading artists in this genre are almost exclusively African Americans... in my dissertation im trying to see if there are reasons for this (is it conscious or just coincidence? are there practices in place that make it difficult for non african american artists to break through in this market etc... Essentially do you have to be an African American to be considered to be an authentic neo soul artist? Could a white/non black Neo Soul artist be considered authentic, or will they be accused of just imitating? in many ways i guess Joss Stone, Amy Winehouse, Duffy etc etc could be considered "soul artists" yet they all got ridiculed as rip off white artists. When Joss Stone got nominated and Winehouse won a MOBO there was alot of resentment amongst the black community. I think that image in music is very interesting. another great example is the average white band... white scottsmen...defiantely soul music, yet they had a hard time breaking through the black stereotype, and being considered to be authentic. What is stopping non black artists from being considered authentic Neo Soul artists? perhaps the reason lies in marketting? is Neo Soul marketted as niche black music?? meaning that unless you look the part, you wont fit in to the market?[/quote] That sounds like a really interesting topic of discussion. I suppose that whilst we would like to think that racial segregation doesn't exist within a musical frame, it of course does, but to what extent is questionable. Neo-soul is obviously deeply rooted in American black culture, the way certain musicians have been brought up and in certain kinds of neighbourhoods I think might reflect decisions that would ultimately lead them to only involve themselves with musicians that are also black. But also I guess it's got a lot to do with the fact that the musicians that are right to play on their tracks have most likely come from black backgrounds, surrounded with blues, soul, R&B and jazz. It's the nature/nurture argument, and that's purely from a social perspective, before you consider technological, economic or political reasons.

I think D'Angelo, Erykah Badu, Common, Mos Def, Raphael Saadiq, ?uestlove and alike wanted to set a bit of a new precedent within a community that was a little bogged down in the throes of modern technology. All that they did was take a type of music that had waned in popularity and turned it on its head by applying everything they loved about hip hop and modern R&B. It's probably worth talking about the fact that numerous 'Neo-soul' artists have rejected the term, arguing that their music was simply a product of working in a close-knit group of rappers and musicians for so long, and thus the insular nature of what they were doing resulted in them producing a really unique sound. What angle are you approaching this essay? Sort of a cause and affect perspective or something a little different?

Anthony Jackson's bass lines on Chaka Khan's 'Heed the Warning' from the album 'What Cha Gonna Do For Me'. The rest of my band are questioning my taste, but the combination of Steve Ferrone on kit and Jackson on bass duties are proving to be some of the best rhythm section work I have ever heard on record. I really am beginning to think Anthony Jackson is just probably the best bass player alive.

I use Spotify nowadays, it means I pay my dues to the artists I love to listen to!

If all goes well I'd finally like to get an Aguilar DB751 and an Alleva Coppolo. If things go tits up financially though then I'll be lucky if I can get a hot meal.

[quote name='Mr. Foxen' post='1068024' date='Dec 23 2010, 05:54 PM']Every time I've done a guitar setup for someone who detunes, it has never been to suit their voice. The half step is always because some cheesy blues dude did it, and the really down was either 'because it's heavy' or 'because Metallica play in standard, so screw doing that'. And when complicated chords "****ed up a whole generation"m do you means 'taught them to play jazz' or 'forced them to play punk'?[/quote] I can only speak for Hendrix and SRV. Actually, technically I can't speak for either of them as I didn't know them. Also they're both dead.

[quote name='Mr. Foxen' post='1067925' date='Dec 23 2010, 04:41 PM']Guitarists do this because they heard SRV and Hendrix did it. That is pretty much the sole reason.[/quote] Both played to suit their vocal ranges. Also SRV used notoriously heavy gauge strings. It's different why you'd want to drop tune on guitar, it creates a different feel and sound you can achieve with bends and vibrato that you simply can't do in regular tuning. There are a million and one examples of guitarists that practice(d) this type of tuning extensively.

I do it in one tune I've recorded recently because I wanted to use that low Eb extensively and the part I was playing. I could have transposed it up an octave but IMO the bass line wouldn't have occupied that space that I wanted it to in the track. The obvious solution to this is using a 5 string but a lot of people prefer to tune down, and I understand why. It will become a bit of a pain in a live setting having to have either multiple bass guitars on stage or tuning down and up between songs also. Anyway, there are a few reasons why you'd tune down a half step., 1.) because you prefer looser tension over your strings (Pino Palladino does this because his La Bella flatwounds can be tough on his bass's neck). 2.) if you're playing with horns, bass players have been known to try and fit around tunes that are written with horn lines in mind ('Rock With You' by Michael Jackson and a lot of Stevie Wonder tracks with Bobby Watson and Nathan Watts respectively), 3.) because you need to fill out the bottom end if you're playing a lot of Eb's, and 4.) with that in mind, some players use open strings as stepping stones, having your bass tuned Eb Ab Db Gb would make it a bit easier for your bass to occupy a lower register that might otherwise not exist or be difficult in drop D.

Played a Chromed LX 4 in Gothenburg a few months back. Monster tone.

[quote name='steve-soar' post='1067153' date='Dec 22 2010, 08:05 PM']PM'd[/quote] You sir, are a hero!

Really love my Fender Jazz but it currently plays like a dog, so much so I'm the only one who can play it with any level of success. I've tried setting it up myself as a quick fix (I've been very busy at the moment playing and recording) but the action is still far too high and the intonation up the neck is slightly out. Need to have it professionally looked at because I'm at my wits end with it, but I like the tone of the thing most of the time.

It really does depend what the sound is like, what the venue is like, whether I know the guys that are playing etc. I try so hard not to judge a band too hard but it's difficult when you're constantly thinking "I wouldn't have played it like that" or "he's hit a wrong note, it hurts" and so on, but I just try and enjoy the show. I went to see my mate's band play the other day, the group before had a bass player seemed to think that he could make up for terrible timing issues and bad playing with a six string bass and more volume. By that stage I found myself wandering to the the bar to order another red bull.

Had you been based in the NW I would have been able to offer you some solutions, but I'm sure someone will be along soon enough with a few names, numbers and websites that you could perhaps contact.

[quote name='newbass1000' post='1066283' date='Dec 21 2010, 11:13 PM']Thanks a lot for your help. What you've just mentioned was what pretty much split up the band, I was just starting out and not looking to start somthing serious. And I'm currently taking bass lessons from a guitar teacher but they're only for 25 minutes a week during school time. I wouldn't know where to look for an experienced bass teacher.[/quote] Where abouts are you based my friend?

[quote name='newbass1000' post='1066253' date='Dec 21 2010, 10:49 PM']I was in a band for a while when i just started playing but we didn't share any music tastes really and we didn't get on so that didn't work out.[/quote] Ahh welcome to first major problem of being in a band. You should look at putting something together that isn't too serious, and never be too worried about perhaps playing some stuff you're not too keen on, it's all a learning curve. At the same time your band mates should understand that you might not be so keen on covering a tune that isn't to your taste either. If you do create a band make sure it has people in it that are relaxed and are just keen on having a good time. [quote]And I like to play all sorts of stuff, but at the moment i'm focusing on learning material from : Led zeppelin, Radiohead, Kings of leon, Muse, Pixies , Stone Roses , Rage against the machine and Rush ( i'm really getting nowhere with this last one ) But as I say, I keep forgeting a large proportion of basslines, and i'm not sure just learning songs is going to help for the future.[/quote] You've got a broad spectrum of music you like to listen to here. The Pixies might be a good place to start. Take the bass line from 'Monkey Gone to Heaven', you'll notice that the bass in the verses jumps out at you. It's all just a case of listening to what Kim Deal is playing and replicating it on your bass. This might seem like a daunting task but I believe that the best way you can learn the bass is by using your ears, and I promise over time the ability to learn bass lines will become marginally easier. It's all about using your ears. Don't focus too much on stuff that is too difficult to begin with, come back to it once you're ready and have built your confidence. Finally, as I'm sure a few posters will tell you, a great thing is to invest at least a few lessons in a good teacher. It's difficult for us to dole out advice over the internet on how to do things, the way you'll learn best is through example and repetition. Best of luck!

[quote name='newbass1000' post='1066230' date='Dec 21 2010, 10:25 PM']I've tried literally everything and for the last 3 months my playing hasn't improved at all, i feel like i'm not good enough to join a band just yet. Could anyone give me some advice? Thanks.[/quote] Yeh, join a band! I think one of the wisest things you can do as a young bass player is to join a band, irregardless of your perceived or actual level of ability. Here's why 1. You'll have fun 2. It will help build your muscle memory and with any luck you'll start to remember left hand patterns and the different ways your playing operates underneath a bunch of musicians 3. You can be as serious as you like, there are a lot of opportunities for bands of all ages, levels and abilities to get out there and perform, you can strive for that or just have fun rehearsing every week. 4. Girls like lads in bands. Fact Of course practicing at home is key as well, have a good listen to how your favourite bass players play and try and get your timing together. Don't focus on how good your technique is at first as this will come with time. Practice with a metronome and nail your timing. If there's one universal truth it's that no one likes a sloppy bass player, no matter how fast they can play. What kind of music do you like to play? EDIT - I would also agree with Thombassmonkey in that it's probably a good idea to seek a competent teacher, but whatever you do make sure he knows his stuff and isn't just a guitar player masquerading as a bass teacher!

I'd just like a piece of the Hacienda floor, forget the bass!

[quote name='EdwardHimself' post='1066087' date='Dec 21 2010, 08:01 PM']Lol seriously mate don't even argue with him. He's like a spoilt child: give him what he wants and he'll just keep coming back for more. Just try to ignore him and he'll go away...[/quote] Having read this thread and not yet commenting, I think J.R. Bass has had some interesting and useful advice to give this lad, whereas conversely you seem to be pursuing some kind of agenda. It might be worth noting that your attempts to goad him aren't particularly helpful and take the focus off the crux of the main topic of discussion.

My P is very heavy (the heaviest bass I've ever owned) and the neck is like a baseball bat, I love it. The weight doesn't concern me at all, in fact I prefer a heavier bass... lighter basses can often feel like toys to me for some reason, no matter how good they sound. My Jazz is quite a bit lighter, but they both get regular gigging time.

Call me what you want within reason!

Everything about Dingwall's shouldn't be my thing by my usual standards (I love the Fender looks) but I will most certainly be looking at their Combustion's in a few weeks time when I get down to the Gallery next. They look awesome.

Still listen to Derrick May as well as more recent house counterparts such as Theo Parrish, Stacey Pullen, Derrick Carter and Robert Hood.