oldslapper

[quote name='Bilbo' post='1204925' date='Apr 19 2011, 04:47 PM']Nor do I, as an absolute, but I do believe that those who do read and learn theory have a stronger work ethic and are good role models. So I advocate accordingly.[/quote] Tell that to the poor sods at St Paul's cathedral school.

Bilbo, I would never say to my reading student don't bother to read again, he is in his late 40's and came to me saying exactly that "I wish I had learned to play with others, but I find it difficult". All new students are immediately introduced to basic notation, particularly the young. As for working with your client group, I too work with same groups facilitating music workshops in prisons. What do they learn? Very little reading, unless they specifically want or need to. But they do learn to play an instrument, team work, listening to one another, accepting and embracing other genre's of music, performance, recording, patience, working to deadlines, rehearsal &, very importantly, consequences of not working hard at all these things, not only on themselves, but on the group. All through the medium of music. Recidivism rates are very low for those who engage in these projects. I would say that sets people up for life wouldn't you? And very little reading involved. I don't buy this notion that those who do not read or learn theory, or do not wish to, are lazy and bad role models..?? Sorry to OP, as this has strayed off topic. I will crawl back from whence I came.

[quote name='Bilbo' post='1204525' date='Apr 19 2011, 10:32 AM']I think a lot of the stuff about reading depends on repertoire. I can readily see hown many people would never really see the benefits of reading because they rarely stray out of their comfort zone of covers and popular tunes that everyone knows. If you gig a lot with many different bands, most of which don't play the more common material we all know, then the benfits of being able to read become more apparent. Over the next week or so, I have played five different set lists with three different drummers, three different sax players, two keyboard players, three singers, two guitar players and a percussionist. I could not remember that much material if I tried so I make my notes on the charts and nail the gig. Couldn't do it without the dots. even if its only the breaks etc.[/quote] That's a good point about repertoire. I think there's more of a peripatetic approach within the jazz community and you are more likely to be playing different gigs with different musicians, using different keys, arrangements, etc, so at the very least reading charts is a must, at least that's been my experience over past 2 years. However, the only gig I have ever been presented with dots outside of "jazz" was last autumn. I was depping and the MD shoved the bass line in front of me 10 mins before kick off, so reading was useful. That's in 30 years of playing for money. But, I have never played shows/pits, and never will. However, I think that's rather a disappointing statement to say that playing covers/popular tunes is within peoples comfort zone, implying a sense of laziness. That's not the case for everyone Bilbo. For some, reading would not make some "popular" bass lines any easier to learn. The notes do not drop off the page and onto the bass by osmosis. There's still the need to translate onto the fingerboard through technique, listening to yours and other band members parts. I have 1 student who came to me recently, he's a good reader, but finds it difficult to play in bands as he has little aural awareness of others around him, so he steams ahead without listening. We've put the dots aside, and he is learning to listen. Boys and girls, music is a language...some can read and write but cannot speak but shout, some cannot read and write but speak like the angels. Reading/theory knowledge is very useful, but not the law.

[quote name='skankdelvar' post='1203777' date='Apr 18 2011, 04:36 PM']It's easy to get excited and push a bit too hard.[/quote] Is this an opportune moment for a snigger, ....I mean.. I don't have to...just seems a waste otherwise.?

[quote name='wateroftyne' post='1200519' date='Apr 15 2011, 12:05 PM']...another view: If I was confronted with a guitarist like this, it wouldn't really bother me. I'd just work out what chords he's playing and crack on. Life's too short.[/quote] I can breathe again...thank you.

"That's HUGE!!", but it was actually a Tench, so not sure if that counts?

[quote name='Monckyman' post='1202689' date='Apr 17 2011, 03:54 PM']Hi, OS, yes it does indeed have a Romberg bevel. What info do you have on your Bass?[/quote] About as much as you do on yours.... Ply, huge sound, done the rounds on the south west jazz circuit, scruffy.....but I loved it ever since I first heard it. Had it "seen to" by a local tech and it is perfect to my rubbish hearing. I'll ask the guy who's bass it was, he often comes to our gigs.

Hey Kbass, welcome to the forum, from oldslapper. If you look at the for sale section, I'm sure you'll find something to your liking. By the way folks, K is a great player...seriously... and an all round good guy. John

It may be the light and I'm seeing things, but does it have a Romberg bevel? My 60's ply has one, and mine looks similar to yours.