The Funk

[quote name='Merton' post='246874' date='Jul 24 2008, 02:02 PM']I think that's the point a few of us are trying to get across, some more eloquently (you) than others (me) and some are perhaps misunderstanding each other![/quote] I think that's what Alex was saying as well. I know he has a certain way of expressing himself once you rub him up the wrong way (as do I), but he's generally a live and let live type of guy.

[quote name='Merton' post='246863' date='Jul 24 2008, 01:55 PM']But it still sounded crap Like I said, both the major and minor thirds sounded crap at that point so ultimately his lack of knowledge vs that of the rest of the band both would have come up with solutions which sounded crap. My solution would've been to avoid the 3rd of any colour/description/type all together.[/quote] A suspended chord?

Sheesh. Why do these discussions always turn into a "you have no soul" v. "you have no brain" clash of un-civilizations? I think most people here are of the opinion that whatever works for you [i]is[/i] the right way. In my band, we have two self-taught guys (me and the guitarist) and two schooled-from-a-young-age classically-and-jazz-trained guys (keyboard player and drummer). Being in this band has challenged a lot of our preconceptions: schooled guys [i]can[/i] have the best feel and groove and most soulful playing in town, and self-taught guys [i]can[/i] know what they're talking about when it comes to harmony and rhythm. The guitarist and I both taught ourselves bits of theory along the way and are still absorbing new bits every day. The difference between us and the other two is that they learnt it from a teacher whereas we had to go find it from other musicians/books/articles/websites.

Here's an idea. We all use theory all the time. Whether it's 'that note sounded bad last time in that place' or 'I don't want a minor 2nd clash on the 1 by playing F when the rest of the band is playing E', we're all figuring out what things work and don't work to help us figure out what we do want to play and what we don't want to play.

[quote name='Wayward-Wanderer' post='246765' date='Jul 24 2008, 12:22 PM']As well what other types of things can you rack mount other than heads, its all terrible confusing.[/quote] Power supplies, effects, compressors, tuners, things with big flashing lights. If you've got a seperate preamp and power amp, being able to rackmount them in the same unit is a lifesaver.

If you don't know any theory whatsoever, then you have to have a f***ing fantastic ear and not put yourself in situtations where you have to communicate with other musicians through words. Learning theory can help develop your ear and your rhythmic understanding. It can also help you to understand why some things you do sound good and others sound less good.

[quote name='valentine' post='240530' date='Jul 16 2008, 12:32 AM']hi im 20 been playing bass now about 3 and a half months ,i play about on average 2 hours a day and have recently moved onto learning how to pop and slap the bass[/quote] I play a lot (well, a fair amount) of slap/pop. You just haven't been playing long enough. I'd been playing for 4 years before I learnt how to do it properly and then it took another 7 years to get any good at it. And I love funk. Five possible reasons your teacher doesn't spend much time on it: 1. You're still not that good when it comes to your left-hand technique or left/right coordination 2. You don't have the rhythmic knowledge to use it yet 3. You're not really into that kind of music so it's pointless 4. He doesn't really know how to do it properly 5. He just doesn't think it's that useful/tasteful. Anyway, it doesn't sound like you're going to wait and not try to learn it now, so just remember this: you slap with your thumb and you pop with your forefinger in one smooth movement. That doesn't mean that every slap is followed by a pop. The answer to your question of what is the easiest way is this: there is no easy way, only a hard way.

I think Jeff Berlin has missed the point [i]completely[/i]. Noone is discouraging people from reading music by stressing the importance of groove. In the same way that learning how to groove will not teach you how to read music, reading music will never teach you how to groove. Everyone should warm up before they try to play anything tricky/serious/full-on. It's daft to suggest otherwise. There's a reason I can't do anything flashy on the first song of a set but by the last song of the last set I can play everything twice as fast with no fluffs. When I try to go full on from the very beginning, both my hands end up cramping up by the fourth song in. And to suggest that people should not specifically look at right hand or left hand technique is insane. My right hand technique still needs work. That is the only reason I ever fluff a note when I put both hands together as he suggests. Noone is suggesting that you work on your right hand technique at the expense of your left hand technique. I honestly think he's mental. His examples clearly demonstrate that. Yes, you don't warm up your legs before you get into a car. But if you don't warm up before you run the 100 metres, you may pull a hamstring and you definitely won't break the World Record. Yes, you don't practice right leg v. left leg running techniques. That's because when you run your body should be as symmetrical as possible. When there isn't symmetry and your hands are performing different functions, you will focus on different parts of your technique at different times. Just think of double bass: when you're starting out and you first practice your bowing technique, how many Classical teachers will get you to play some complex melody with your left hand? He can't be as dim-witted as he sounds. That makes me think these differences in approach to music tuition are actually an excuse for petty, personal attacks.

Wow. Model 5079 for me. I love the look of a walnut jazz body with a black scratchplate - either with a maple or rosewood fretboard. Get that, then get bored of it, then sell it to me.

Think at home, play on stage.

There was a song by The Blackbyrds called [i]Do It Fluid[/i]. That title is what funk is all about. It's all in the phrasing and by that I mean what people have been talking about above: deliberate mixing up of shorter and longer notes, accented (louder) and quieter notes, notes on-beat and off-beat. EDIT: I like to think of most funk grooves as having a built-in accent on the 1, and with the backbeat on the 2 and the 4. I see it as my job, no, my privilege as a bass player to play around with those accents as much or as little as I want.

Which version? I've got 6 different versions on my computer. I don't have a transcript though. You shouldn't really need one - unless this particular version had something interesting happening on the bass. The changes in most versions are pretty straightforward.

Mike and Mikey - digging the jazz/funk bands!

I have a pair of Acme B2s and an Acme B1. They are designed to faithfully reproduce the sound of your bass/preamp without adding their own colour. They go very low, have very clear mids thanks to their dedicated mid-range driver and the highs are clear and smooth. The cabs are also relatively affordable as you buy direct from the company. On the downside, the B2s are not that shallow. You would need a big power amp to drive a pair (although power amps aren't that expensive anymore and all you'd need is 500W per cab). They are pretty light though. The B1s are pretty small but go just as low as the B2s. A pair of them would be enough for some gigs (but then a single B2 would be cheaper). I like the idea of your dual preamp set-up: I think all you need really is cabs that go low, have clear mids and are as faithful to the incoming signal as possible. All of us are just telling you of our experiences with our own cabs. I know you were looking for ways to compare different high end cabs. I don't know anyone or anywhere that has all these different cabs available to try out. I suppose at the next Bass Bash, we could try to do some proper reviews comparing different types of basses, amps, cabs and effects. Good luck with your search.

Jazz Café, February '08 Rock Garden, August '07

LaBella Slappers on my fretted Warwicks and my '70s Fender, not sure what's on my fretless Warwick. Ernie Ball Hybrid Slinkys on my '90s MIM Fender Jazz - beefs up the sound. I quite liked the standard Warwick strings that come with most Warwicks.

I have to say I hate side handles (especially the recessed ones) and I hate the ratfur carpets. The cabs look interesting. I'd like to hear one.

[quote name='Tengu' post='244973' date='Jul 22 2008, 12:30 AM']there have been a couple of times when I was asked, "are you any good?"[/quote] "No. I'm great."

I'm just saying this. OH MY GOD! That was AMAZING!

I think the gig tonight is the only one in the UK. Not trying to encourage blowing off work/family commitments but there would still be time for you to get on a train from Manchester and get to the venue on time. Just saying

I'm going to see Return To Forever tonight at the Indig02. I can't bloody wait! Chick Corea, Stanley Clarke, Lenny White and Al di Meola reuniting to perform songs like [i]The Romantic Warrior[/i], [i]Vulcan Worlds[/i] and [i]Sorceress[/i]. It won't be for everyone but one person's self-indulgent w@nk-fest is another person's bukkakke party.

Love the Stanley Clarke interview. I can't wait for the Return To Forever gig tomorrow night!

The best feeling is where it goes beyond individual mind-instrument connection and becomes a group mind-instrument connection, when everything becomes subconscious and just comes out [i]right[/i]. I don't know what I just said there but I hope it's relevant to the discussion. I think once you have your own voice on the instrument, it's as natural and unplanned as normal conversation, whether you speak in monosyllabic grunts or flowery, figurative language.

[quote name='Oscar South' post='242939' date='Jul 18 2008, 06:00 PM']I can't stand funk[/quote] The feeling's mutual.

You got a Hartke 210XL for 40 quid? Bargain!