The Funk

[quote name='MissPenguin' post='162354' date='Mar 23 2008, 08:28 PM']Yeah.. I feel stupid now, i thought i would, but decided to post it anyway.[/quote] You shouldn't feel stupid. I was way older than you when I started to figure some of this stuff out. Some theory is useful when you're trying to figure out what the people you're playing with are actually playing - when they can't tell you themselves. It's also helpful when you're soloing. The Jazz Theory Book is very good for all of this stuff. I'd definitely have a look at it. It's useful for helping you figure out how you might actually apply scales in a practical setting. Another good book is Patterns for Jazz which basically sets out some different licks and phrases - all grouped according to the different chords or changes you might want to use them over. [i][u]Quick Recap[/u][/i] If the Em7 chord you're playing is Dorian, you're in the key of D Major; if it's Aeolian, you're in the key of G Major; if it's Phrygian, you're in the key of C Major. If the E Major 7 chord you're playing is Ionian, you're in the key of E Major; if it's Lydian, you're in the key of B Major. If the E7 chord (dominant 7) you're playing is Mixolydian, you're in the key of A Major. If the Em7b5 chord you're playing is Locrian, you're in the key of F Major. [u][i]Further Reading[/i][/u] There are other scales which fit Em7, EM7, E7 and Em7b5 too derived from other scale types (ie. Melodic Minor, Harmonic Minor, Harmonic Major, Diminished and Whole Tone scales). And those other scale types also contain modes which correspond to other types of chords, like minor-Major 7 chords, diminished chords and augmented chords. There are also many chord changes which don't strictly follow the modes of a given scale type. While that can be a bit unnerving at first, there are some standard conventions people tend to use when substituting a chord for "the correct chord" or reharmonising a chord or sequence in general. Rather than try to start going through those things here it's best if you just go through it in The Jazz Theory Book by Mark Levine. He explains things much more clearly than I ever could - and he doesn't throw everything at you at once. [quote name='MissPenguin' post='162020' date='Mar 23 2008, 12:11 AM']how did you learn your scales/arpegios? Does it just take a lot of practise?[/quote] So to answer your question, yes it does take a lot of practice. But it helps to know why your scales and arpeggios will be useful to you. That normally helps me with the motivation to get through it.

[quote name='Gloria stits' post='143463' date='Feb 19 2008, 11:18 PM']Where as on Basschat there's been a few negatives?[/quote] The only dodgy ones I've seen were in the Bass Centre where a good few basses (of all makes) looked as if they'd been thrown around the shop as hard as possible (eg. knobs missing, several dings). That wasn't a build quality thing though. I was initially tempted by a Sandberg California J/MM but now I'm leaning more towards a Clover with they Hybrid MM/J bridge pick-up. I'm also vaguely tempted by a 7-string Sandberg.

It could also be your pick-up needing a re-wind. But seeing as it's less than 10 years old that doesn't seem likely unless it was exposed to some heavy magnets.

I really enjoyed your solo (I thought it was better than his so I had to go on his website to figure out which one you were).

Indie is really not my thing but it sounds very together and pretty tight, especially for a rough demo. You should easily be able to get plenty of gigs off the back of that. One thing I do like is the growing number of indie bands not just with good time but pretty good rhythm sections. It sounds like your band could fall into that category.

I've just listened to Static. It's cool. The fingerstyle bass tone is perfect. My only suggestion would be to either play it faster or slower: my preference would be for slower. Faster it would have more energy and slower the groove would be that much dirtier. The other thing is that it got a little same-y in terms of the arrangement and the dynamics before the end. As soon as the song finished and Flipoutthefunk came on I wished that some kind of quirky break along those lines had been slipped into Static. I'm not trying to be an @rse - only giving you the negative 'cos the positive stuff is all obvious and it's quality material.

Half the sound of electric guitar comes from the speakers. The speakers they use are awful in terms of faithful sound reproduction - but that's exactly why they work and sound great. Have you ever heard an electric guitar DI'd? It sounds terrible. The Jensen and Celestion speakers they use are full of character: not what you want in hi-fi or PA settings (or for bass guitar) but great for electric guitar. The classic speaker for the Fender amp sound is the Jensen P12N or P10R; for Marshall, it's either the Celestion G12H or G12M. For the Vox sound, it's the Celestion Blue. Having said that a bunch of guitarists now use amps and/or cabs designed for bass guitar if they want a really low down, thick, heavy sound - like the one you say you're getting. If you're unhappy with the sound it could be either because of the speakers or the amp reproducing the sound too faithfully. (You're unlikely to get overdrive or distortion from a bass amp except at stupendous volume levels.) So in a round-about way, my answer to your question is that it sounds like that 'cos you're using a bass rig. If you don't like that sound you could try using a guitar cab or a guitar head or both.

[quote name='7string' post='162469' date='Mar 24 2008, 12:51 AM']The important question has to be asked..."Is KFC better than over here ?"[/quote] $1 all you can eat buffets, free refills and Rotisserie Gold chicken. If I was American I'd set a new standard for obesity - they'd need to invent a new word for it.

[quote name='TheBrokenDoor' post='162317' date='Mar 23 2008, 07:18 PM']It's very hard to explain on a message board, and much easier in person.[/quote] I gave it a shot in the end - tried to resist.

[quote name='MissPenguin' post='162137' date='Mar 23 2008, 12:04 PM']Sorry i couldn't phrase the question in an understandable way..[/quote] No, don't worry. I was being deliberately unhelpful. I apologise if what I say below is patronising - I can't gauge your level so I'm aiming it at beginners. The important thing about scales (that most people have said above) is the relationship they have with various chords. A chord symbol will give you strong clues about what notes are in the corresponding scale. Some of it is obvious. Take E minor 7 as an example: E (root), minor (minor 3rd-G, perfect 5th-B ), 7 (minor 7th-D). That gives you four of the seven notes in the scale. The other three notes in the scale, the 2nd, 4th and 6th, would correspond to the 9th, 11th and 13th of the chord. If the only information you have about the chord is Em7, then you have to figure out whether the 2nd is major or minor (ie. F# or F), whether the 4th is perfect, diminished or augmented (ie. A, Ab or A#), and whether the 6th is major or minor (ie. C# or C). If the 2nd is major, the 4th is perfect and the 6th is major then the scale you have is E dorian. If the 2nd is major, the 4th is perfect and the 6th is minor then the scale is E aeolian. If the 2nd is minor, the 4th is perfect and the 6th is minor then the scale is E phrygian. When you know what Em7 chord you're dealing with, you have a good clue as to the other chords you might be playing in a given tune. (E dorian = D ionian-Major 7, F# phrygian-minor 7, G lydian-Major 7, A mixolydian-dominant 7, B aeolian-minor 7, C# locrian-minor 7 b5). Does that make any sense?

I'm going to be really helpful: I don't understand the question. (But the answer is The Jazz Theory Book by Mark Levine)

Congratulations! In NYC, try out some Aguilar and Sadowsky stuff - it might even be possible to go into the workshop if you ask nicely.

[quote name='lukeward2004' post='161893' date='Mar 22 2008, 06:27 PM']He said "Well look, I can tell you arent serious about buying this bass, and I knew when you walked in you where a time waster, so if you dont mind ill have the bass now to give it a good polish to get your grubby finger marks off it". I simply stood up, handed the bass back, and said "good luck selling this bass with that attitude".[/quote] I would have dropped it on the floor and walked out. Maybe muttering something like "better give it a set up too, tw@t".

[quote name='steantval' post='161851' date='Mar 22 2008, 04:55 PM'][attachment=6739:P3210003.JPG][/quote] No advice on the rig - just a comment. I love the fact that you painted your walls to match your bass.

I thought it ran off car batteries. I may be wrong!

£500 2nd hand Eden head: 400W @ 4 ohms [url="http://cgi.ebay.co.uk/David-Eden-WT400-Traveller-Plus-Bass-Amp-Head_W0QQitemZ330220233159QQihZ014QQcategoryZ58719QQssPageNameZWDVWQQrdZ1QQcmdZViewItem"]http://cgi.ebay.co.uk/David-Eden-WT400-Tra...1QQcmdZViewItem[/url] £430 2nd hand Eden 4x10 cab [url="http://cgi.ebay.co.uk/David-Eden-Bass-Cabinet-with-case-in-great-condition_W0QQitemZ270220685489QQcmdZViewItem?hash=item270220685489"]http://cgi.ebay.co.uk/David-Eden-Bass-Cabi...tem270220685489[/url] I quite like the Eden sound: very clean. Not really [i]my[/i] sound but still very useable, especially for the genres you play.

[quote name='Faithless' post='161988' date='Mar 22 2008, 10:09 PM']Back to it's origin... But I thought people'd realise what kind of stuff I'm talking about, when they read surnames, bands names, etc...[/quote] Yeah, I got that you were talking about prog in particular but I also thought you were talking about all rock in general. The main problem with prog is what people have said above: because of the anti-prog backlash and general lack of interest proggers have had to disguise themselves in other genres, ie. metal, electronica, jazz/fusion.

You can't just change the title of the thread on us. Makes all our comments look daft now.

He's one of the best bassists of all time.

I think another factor might be that there aren't many rock bands around anymore. Instead we have "guitar bands". Wasn't there a time when that was pretty much any and every band?

Hi Luke. Any chance you might youtube those vids? They won't play for me on Mac.

[quote name='cheddatom' post='154575' date='Mar 10 2008, 02:42 PM']I went on your myspace to hopefully download some music to listen to in the car but your songs aren't available. Is there anywhere I can get them?[/quote] Not yet - we're recording the album this summer. But as a few people have been asking we might put together a CD with the demo recordings we've got so far. We'd probably give them away for nothing - although a S.A.E. would be appreciated! I'll keep you posted.

Marty McFly: "... watch for the changes and try to keep up..." But when you're soloing, just play blues licks. Nick them off blues guitarists: BB King, Albert King, Freddie King, Otis Rush, Elmore James, Hubert Sumlin, Eric Clapton, Jimi Hendrix etc. You could also nick blues licks off some rock n' roll guys like Chuck Berry himself.

If you're on Em you know you can play E and the other two notes of the E minor triad (the basic building block of the E minor chord): G (the minor 3rd) and B (the 5th). The 7th might change from D# when you're on E major to the D when you're on E minor. So you might want to switch from the D# to the D and the G# to the G. Just try anything and if it sounds crap don't do it again.