Pete Academy

[quote name='Moos3h' post='563066' date='Aug 7 2009, 09:03 PM']I make no claims to have tried every string in the book, but I find Elites (Stainless Steel) are just fantastic for me. Yes, you might get 1-2 gigs extra out of a set of Elixirs, but that doesn't justify the huge jump in costs. Oh and a dab of Fast Fret as and when they need it. Cheers, James[/quote] Aaarggh...I HATE Fast Fret

Has anyone tried those Dean Markley Alchemy ones yet?

I must have tried every brand of string over the years, but I can't find any that last. Elixir last a bit longer for me, and I've just tried the new Rotosound Nexus coated, which are actually very good, and don't have the slippery feel of Elixir. They look very cool, too. I like my strings bright and punchy - I hate it when they start to go off. Saying that, I'm a bugger for not wiping them down after a gig, as I'm too busy wanting to get away for the kebab on the way home. I tend to play quite hard. I can't accept that any uncoated string can last any longer than another, as the dirt in the windings causes them to go off. Any thoughts on this?

[quote name='bozzbass' post='562364' date='Aug 6 2009, 10:51 PM']It sounds as if you got nervous because you were being asked to do something new or in a way that that was new to you at the time. Do you think if you had spent more time 'consciously' learning or working on feel stuff - that is moving around the beat - rather than just kicking in you would have been less nervous?[/quote] You're probably right, there.

And your grammar and spelling go amiss, too.

[quote name='redstriper' post='562225' date='Aug 6 2009, 08:26 PM']Feel is not an intellectual thing for me at all, it's a spiritual vibration. Over the years I have learned to relax and allow it to flow, rather than actively trying to bring it on. It's almost like meditation and when I'm in the zone, the music flows through me like I'm channeling it from a higher place. It was scary when I first found the zone and many musicians back away from it when they feel it because it's beyond their normal way of working. But if a group of musicians allow that feel to grow between them, they can create magic and if the audience picks up on the feel it will be extra special, like a natural mystic flowing through the air. I'm only really interested in music that has that feel and you can't learn or teach it - you just open the door and let it in.[/quote] That's interesting, because when the aforementioned drummer wanted me to play behind the beat, I was nervous and was over-concentrating instead of just being myself. I've never had aproblem with how I play - the drummer kicks in and away we go - but when someone forces you to analyse yuor playing, it's quite a scary situation.

[quote name='TimR' post='562170' date='Aug 6 2009, 07:10 PM']That's just their hormones. 'Young' people do EVERYTHING too fast. I did when I was young. Again this brings to the table the idea that feel is a maturity thing. When we hear a musician with great feel I guess we sometimes say that they have a very mature aspect to their playing. While the drums and Bass may lay back on the beat, someone, possibly the Vocalist or another solo instrument, maybe even the hi-hat needs to play on or ahead of the beat so that the beat is marked out, otherwise the laid back feel is lost. It takes a lot of skill to lay back all the drums and not slow and even more skill to leave a soloist to carry the tempo [/quote] That's a great comment.

It varies from store to store. A smaller shop might charge less because they can avoid putting the sale through the books. It would be better to agree a price that you want and then let the shop decide how much they want to make. As long as you get your agreed fee, then it's up to them.

Another thing I've noticed is that when younger people, especially, try out a bass or drumkit in the shop, everything is played as fast as possible. I just want to say 'slow down! It's harder to get the feel right on slower tempos. And I NEVER hear anyone play a fairly slow slap line.

Another master of feel is Verdine White of EWF. But saying that, I read that they would spend an awful long time getting that feel just right for each track.

Sorry folks, all those heads are gone and there won't be any more at that price. Hydrive combos still available.

[quote name='bozzbass' post='561834' date='Aug 6 2009, 11:25 AM']Pete So your experience in the 80's sounds similar to my friend. It's interesting where you ask though 'What was the point in using a drummer?'. Musicians come up with this a lot when they are asked to play something like a machine, 'why don't you just use a machine?'. I think this comes from an overall human anxiety that occurs in the west cos we are nervous we will lose our jobs to automation. I think to ask this question overlooks an important part of music. Musicians can tend to view music functionally ie these notes go in these metrically assigned points in time to create 'feel'. Audiences however experience music sonically and emotionally, many of them couldn't care less about function or craft, they just want to get down, feel angsty, have a laugh, curl up with a loved one, whatever. One role of the producer is to bring the audiences ears into a music making environment. The point is this, 'why use a drummer?' Because the the producer, the band, whoever wants to have the sonic quality of a drummer because they realise audiences either want it or should be given it. So why ask a drummer to play like a machine? Again, because the sound of a drummer COMBINED with a machine 'feel' is worth exploring, it might be what audiences want or should be given. Where you and JTUK say about it feeling uncomfortable, I agree, as a player it can be drag and you have to be able to realise when it's not working. But on the other hand we have to try out uncomfortable things to see if they are worth pursuing. In your case of the 80's 'drummer playing like a Linn' it clearly was worth it, cos now we have some great drummers who can 'feel' like a machine, for example the guy out of Bloc Party. I think what we should really be worried about is how 'human' machines can be taught to feel these days.[/quote] Very good point.

I had this when I tried to sell something in Loot.

[quote name='bozzbass' post='561486' date='Aug 5 2009, 09:02 PM']This stuff about feel being learned or taught is really interesting. I favour the idea that it is learned BUT I have a bit of bonkers story about feel being 'taught' A friend of mine recorded with a name producer in America. So the band are recording a fairly laid back track and the producer is quite forcefully in the drummer's face saying, 'You have to play this exactly this far (who knows how he measured it) behind the beat ... oh yeah and you have to be consistent because if you deviate for even a second we start again cos we are having this as a single take!!!!!!!' So this track took many takes and a good couple of hours of severe stress on the drummer's part to capture the exact laid back feel in a single take performance. I suppose you could say that by the end of the day, the drummer had been taught(???) to play just behind the beat. I've been asked a few times to lay back or bring it forward, but I've never had anyone ride me like this about it.[/quote] Back in the 80s when the LinnDrum ruled, I was playing with an original funk band. We were in the studio recording a track and the producer set a click and 'demanded' me and the drummer play exactly on the beat for the whole track. What was the point in using a drummer? Nightmare days. Fast forward to a few years ago, Nearly Dan had a great drummer who was obsessed with the whole D'Angelo-type thing and insisted we lay right back on certain tracks. He couldn't understand that the rest of the players couldn't 'get' it. Everyone just thought the song dragged. At what point does laying back affect the tempo? For me personally, it was uncomfortable.

[quote name='Faithless' post='560484' date='Aug 4 2009, 06:15 PM']What's so " ?????? " about this, mate?[/quote] I'm just a bit surprised you haven't picked up on the so-laid-back-is-it-out-of-time? feel on some tracks. I read an interview with Saadiq where he claims to have rattled a few cages with this, especially where certain artists have refused to work with him. For me, the album is genius, but does take some getting used to. That's just my opinion, though. This clip of D'Angelo on YT is just about the funkiest/ feeliest thing ever: [url="http://www.youtube.com/watch?v=m4XI6LXCsH8"]http://www.youtube.com/watch?v=m4XI6LXCsH8[/url]

[quote name='steve-soar' post='560720' date='Aug 4 2009, 10:34 PM']Just played along to this, good God, this kind of feel is golden. My bottom lip went underneath my top teeth, while I was jamming to it, then I remembered my funk tool kit, "In case of Emergency, Don't give a funk", all facial expressions returned to normal.[/quote] It's a tricky little beast.

[quote name='thisnameistaken' post='560620' date='Aug 4 2009, 09:06 PM']Sounds a bit like this: [url="http://www.youtube.com/watch?v=Cos9ExMIELU"]http://www.youtube.com/watch?v=Cos9ExMIELU[/url] Which has been sampled and re-recorded to death.[/quote] Thanks! Yep, that's the one! What a great line!

I'm playing a wedding on Saturday with a funk band. We don't play very often these days, but we need to learn a few new songs especially for the occasion. One of them is Cosmic Girl by Jamiroquai, which I've played before. The other is this one, which I haven't. I can't remember the original song this was taken from, but this has got to be one of the best bass parts ever, and the song is based around it. [url="http://www.youtube.com/watch?v=EpC2GHd46HE"]http://www.youtube.com/watch?v=EpC2GHd46HE[/url]

Oh, come on...

Forgive my ignorance here, but I came to this thread later than most, and to save me trawling through the post, what exactly has Janek done or said to cause the adverse reaction?

[quote name='BigBeefChief' post='560346' date='Aug 4 2009, 04:35 PM']I only "rag" on him because he presents himself as a bit of a twat. I'm in no position to comment on his ability. As a listener, I can comment on his musical ouput - although this will always be "just" my opinion, which isn't worth much. I don't doubt he's an incredible musician. I also like the fact he's slightly outspoken. Good stuff. I'm sure he's a good laugh in the pub. He has (like many others) flounced about on here a bit, hence I say he presents himself as a bit of a twat. Are we suggesting that because he's a superior musician we can't comment on his general behaviour? You pros talk about resilence and drive, but f*** mine, all it takes is someone to annoy you on a web forum and you f*** off back to talkbass. Call me a weirdo, but I can't suck up to a guy just because he's an incredible musician. I'm great at making cups of tea, but that doesn't cut me any slack on the Twinnings forum.[/quote]

[quote name='Davemarks' post='560282' date='Aug 4 2009, 03:28 PM']I'm only gonna jump in on the issue of Janek very briefly on this... I will preface this by saying he's a mate of mine, but aside from that.... He is a terrifying musician. Think about that. Musician. His ability as a bassist is ridiculous, but this man is a fantastic musician. He plays beautifully, writes with depth and soul in his compositions, can read and transcribe fluently and has a fabulous ear. He plays a wide range of styles with confidence and authority and can put on different hats as a performer, whether as a bassist or playing drums or guitar, and also as a teacher, producer and arranger. How many of us can hit the standard across so many skills simultaneously? I find it hilarious that some musicians who (with no disrespect AT ALL) cannot hold a candle to his skill set, see fit to rubbish on him because he shares his opinions on the world that he finds before him and he does so unapologetically. When a man dedicates himself to an ideal and strives day in and day out to achieve that ideal, that should be an inspiration to all of us, even if that particular ideal isn't one that we hold close to our heart. People think of him as arrogant, because they assume that we're all on the same page and all of our contributions are equally valid. (opening floodgates..... now.) They are not. The problem with the internet is that it allows billy armchair to jump up from his position of limited experience and go head to head with experienced professionals (in whatever field) as if we are all equals. WE AREN'T. I love that fact. Some of us are further down the road than others. I make no apologies for my abilities. I've worked fkng hard over the years for them. A lot of my students look up to me. I know that the level I hit inspires them. I look up to Janek. He inspires the sh*t out of me. I saw him play the last time he was in London and I was blown away. Honestly. It was euphoric. The whole band and the music they made was beautiful. If we assume that we are all equal and nothing is better than anything else, then what do we have to aspire to??? Also... some members ask for reviewers who will 'tell it like it is' about the assembly of a piece of wood and some metal. Don't hold back -we'd respect your honesty and integrity.. etc etc... When a player starts to 'tell it like it is' about actually being a musician for a living and trying to play your instrument well, (wherein they might rubbish some of the ideas of said members) Suddenly you're an arrogant prick. I love it. I stopped contributing opinions on forums a while back for the same reasons. It seems like a lot of people ask questions, not because they want the truthful answers, but because they hope enough (other, similarly uninformed) people will agree with them that they can continue to justify their bad habits and counterproductive philosophies. I love knowing that there are players out there who would clean me out. I read about them, I go to their masterclasses, I try to hang out with them and absorb their vibe if I can. It all makes me a better musician. Fk the bass. Bass is irrelevant. Music is where it's at. To quote my friend richard Niles: "The word 'instrument' is significant. A guitar or piano (or a computer) is an instrument that facilitates expression, like a spoon facilitates drinking soup. The important thing is the soup, not the spoon." He's a great musician. If you don't like his opinion, disregard it. But stop ragging on him. end of rant. d[/quote] Absolutely amazing response. Well done mate. As for the last bit about the instrument, Victor Wooten also stresses that point.

[quote name='Faithless' post='559852' date='Aug 4 2009, 12:32 AM']I'm listening to this album probably everyday, and know it to bits, but haven't 'spotted' what you said.. It grooves well, in the end, nothing to add.. [/quote] ????????

By the way, has anyone heard 'D'Angelo's album, which I think is called Voodoo (forgive me if I'm wrong), with Pino on bass. He has this style where the instruments are so far behind the beat, it actually sounds out of time. This has pi**sed off quite a few people, as it did me on certain tracks. Any opinions on this?

I think there was a thread a few weeks' ago where someone wanted to learn funk and a few bass parts from certain songs were suggested in order to learn the style. Taking Brick House as an easy-ish example, just giving someone the notes doesn't mean anything. How do you teach someone to make a bassline groove? Do you break the line down into macro parts, just as some drum machines did?