The Funk

Ask the guitarist to either be more specific and hum the type of line he wants or to shut up and work on his rhythm.

This one?

[quote name='4 candles' post='267337' date='Aug 21 2008, 08:11 PM']For everyones sake, please give up the bass!!![/quote] Not cool

If you're waiting to hear the beep or click before you start trying to play the note on your bass, then you'll never be in time. If you hear four beeps or clicks and then know when the beats are going to beep or click, then you'll be able to play in time.

Youtube it for us who aren't in the North East?

Faster and cheaper. But if the savings were passed onto the consumer, then there'd be no point (for Epifani) in shifting production from the US to China. Especially as they're a high end bass cab manufacturer.

From the basschat homepage it looks like the title of this thread is: [u][b]Epifani Cabinets now being ass...[/b][/u] Classic.

If they did that, they may as well just keep making them in America.

[quote name='dlloyd' post='267068' date='Aug 21 2008, 02:05 PM'](Mr Funk got there first, but he's counting half as fast as me)[/quote] Aye. I prefer it that way usually. But I can understand what you mean (and if my 1 and 3 are accented in the same way as each other then it makes more sense to count it the way you are).

There's a thread about playing in time in the Theory section. I'd say have a look at that. Listen for the 1 (where there's naturally a big accent) and the 2 and the 4 (where there's a pair of accents). There's often a big kick drum on the 1 and a big snare drum on the 2 and the 4.

Hah, no chance of me transcribing that. I found the video while looking for keytar videos. I've got a bid going on a 1980 moog keytar at the moment...

[quote name='dlloyd' post='266928' date='Aug 21 2008, 10:55 AM']I'd say you have a fairly good understanding of basic theory... the difficult bit is in learning the names.[/quote] Yeah, I'd agree with that. For some people, learning theory is just putting names to things they already know, do and understand.

[quote name='lowhand_mike' post='266911' date='Aug 21 2008, 10:42 AM']within the context of the scale it is used?[/quote] Exactly

[quote name='lowhand_mike' post='266902' date='Aug 21 2008, 10:38 AM']so would a Gbb double diminished actually be an F? (Gb is also F#, so therefore a Gbb would be and F, 2 semitones/whole tone down)[/quote] It would be the same note as an F, but harmonically speaking it would feel completely different.

Yeah, I'd say just start with the blues scale and major pentatonic. For some of the metal and hard rock tunes you play though you might find that those two don't work. Then you need to work out which notes work for those songs.

[quote name='XB26354' post='266559' date='Aug 20 2008, 07:33 PM']Of course, depending on the chord, you can play more than one scale.[/quote] I think that's the reason Alex says what he does and why I kind of agree with him.

Prince Charles' birthday. Do you think HRH Queen Elizabeth II wangled it so that noone within the realm could take delivery of their Epiphone Thunderbird IV Gothics before her firstborn and heir (who's getting one for his birthday)? I smell royal conspiracy...

If you take all 12 notes of the chromatic scale and ascend in semi-tones, then: Root + 1 = minor 2nd + 2 = major 2nd + 3 = minor 3rd + 4 = major 3rd / diminished 4th + 5 = perfect 4th + 6 = tritone / diminished 5th / augmented 4th + 7 = perfect 5th + 8 = minor 6th / augmented 5th + 9 = major 6th +10 = minor 7th +11 = major 7th +12 = octave

[quote name='lowhand_mike' post='266496' date='Aug 20 2008, 05:59 PM']i get the 3rds etc now, and what does diminished mean then? is it just moved down the neck a bit (tone or semitone?) and augmented is moved up the neck?[/quote] A diminished 5th is one semi-tone lower than a perfect 5th. An augmented 5th is one semi-tone higher than a perfect 5th. A diminished 4th is one semi-tone lower than a perfect 4th. An augmented 4th is one semi-tone higher than a perfect 4th (and in exactly the same place as a diminished 5th). The note which is at the augmented 4th/diminished 5th is also called a tritone because it is three tones (six semi-tones) away from the root note - in either direction. A diminished 7th is one semi-tone lower than a minor 7th (I think) and two semi-tones lower than a major 7th. But don't worry about diminished 7ths for a while. (One fret = one semi-tone. Two semi-tones = one tone = two frets.)

[quote name='lowhand_mike' post='266483' date='Aug 20 2008, 05:36 PM']eh? man alive i need some lessons[/quote] Not from me, clearly! I'm the worst teacher in the world. That's why I don't have any students and try not to explain things to younger musicians. I just can't explain things in a helpful way at all!

Dunno if this helps or makes things worse but... 3rds on the whole are minor or major. A minor 3rd is 3 semi-tones above the root note. A major 3rd is 4 semi-tones above the root note. A scale or chord with a major 3rd is usually major (although it could be augmented depending on the 5th). A scale or chord with a minor 3rd is usually minor (although it could be diminished depending on the 5th). 2nds, 3rds, 6ths and 7ths are usually minor or major. 4ths and 5ths are usually perfect, diminished or augmented. Root note + minor 3rd + perfect 5th is a minor triad. Root note + major 3rd + perfect 5th is a major triad. Root note + minor 3rd + diminished 5th is a diminished triad. Root note + major 3rd + augmented 5th is an augmented triad. A major triad + minor 7th = dominant chord. A minor triad + minor 7th = minor 7 chord. You eventually get the hang of it all.

[quote name='lowhand_mike' post='266465' date='Aug 20 2008, 05:13 PM']ok simple questions and its one i have just assumed, but the shape of the scale, say the major (i'm not talking TT s TT etc) i mean the shape of it on the neck. does that stay the same no matter where you play it? i have assumed it does and when played anywhere on the neck like this it sounds right but is it?[/quote] On a standard bass in standard tuning (ie. in 4ths), then yes. On a guitar, with that pesky B-string, no.

The advantage of a metronome is that it's flexible. You can hear the feel of what you're trying to play on top of the clicks of the metronome. Have any of you tried programming a shuffle or swing feel on a drum machine / MIDI editing software? Drives me nucking futs.

[quote name='Sarah5string' post='266443' date='Aug 20 2008, 04:52 PM']Can I ask what you guys mean by 5th and 7ths??[/quote] Yes, but my answers usually confuse people more. Dlloyd is the man at explaining this stuff. A 5th is the fifth note in the scale. When it comes to chords, the 5th is usually an important note in the construction of the chord. When it comes to the interval between two notes, a 5th is seven semi-tones above the first note. A perfect 5th is seven semi-tones above the root note. An augmented 5th is one semi-tone above that (ie. eight semi-tones above) and a dimished 5th is one semi-tone below that (ie. six semi-tones above). The problem with this thread - and especially my post - is that it's just confusing. I'd really recommend looking up dlloyd's theory primer in the Theory sub-forum. It explains everything clearly, simply and in the right order.