bigd1

Does anybody know where I can buy a empty cab from ? pref North west or west Yorkshire area. done some searches but don't seem to be able to find owt. Any help would be gladly appreciated. Ta very glad BIGd

[quote name='paul, the' post='158055' date='Mar 15 2008, 04:46 PM']Did anyone else see the program on Irish music on BBC4 last night? They were talking about trying instill traditional values and promote distinct culture in order to ease the partition with the UK through pride. The politicians were looking for a figurehead for Irish music and auditioning fiddlers. On auditioning, they kept trying to get the musicians to perform flawlessly without 'mistakes'; akin to classical music. They didn't understand that it was the imperfectly perfect poor intonation that was so important for getting the right sound. To make relevance, it shows the importance of the connection with the culture behind the music and the understanding developed through a long-term association with it. This is where the creativity is born too. And the technical improvement comes from the joy of repetition from playing with others.[/quote] Believe me orchestral performances contain mistakes just like any other performance. Something that has started to happen of late is, because classical groups are now using Pro Tool and the like to record. They now will do as many takes as needed to get a perfect patched together performance. The problem is audiences of new classical listeners are then disappointed when they hear the work played live. It is now causing problems with ticket sales. Just to throw a fresh spanner in the works, should we be trying to get a perfect performance, is slight timing and intonation mistakes what make the music live or should it all be, note and timed to perfection.

I'm building a DIY cab but need to know the best place for things like corner protectors, speaker cover, handles and socket plate etc. Looking for on line mail order stores. Ta very glad BIGd

[quote name='cheddatom' post='156633' date='Mar 13 2008, 12:00 PM']Obviously knowing theory doesn't stop you from experimenting with different notes and scales which aren't even described as such by theory. However, to do that you wouldn't need to know any theory either. A person who knows theory MIGHT stick to what they know and have learned as the correct way of doing things and/or the way things have always been done. A person who knows no theory would not be able to stick to standard scales and the like, because they wouldn't know what they are. I'm not saying people shouldn't learn and use music theory. I'm speculating on it's effects upon creativity and development as a musician as a whole.[/quote] I would have thought you would be no more experimental what ever method you have learned by. As I said before both methods need you to listen, that being the case when you learn by ear you are only learning the sounds around you that would be based on already acquired knowledge. By the nature of the ear method you have to have heard it to play it. A musician who can read music does not need to have heard the music to be able to play it, but knows what the written notes sound like again from pre gained knowledge. This would enable them to go through the piece visually knowing what it will sound like when played. I would say not one nor the other method leads to a greater skill when it comes to experimentation or improvisation, both methods give you the skills to do this. BIGd

We all have seen and listened to musicians who claim to have no knowledge when it comes to theory. Pick up a musical instrument and start to make noises with it, you will find, if you keep trying you will probably start to string together sounds you like, stuff starts to sound good. But by the same method some will not sound so good. This is basic music theory. I started playing brass as my first instrument (Tuba). I have been a musician for over 30yrs. I find most musicians who learn by ear seem to think if they learn any theory it will in some way kill there ability to play what the hear. In my experience all good musicians play by ear, it's impossible not to. The basic thing we want to do when we first start to play an instrument is to make a noise. Although when I am teaching I find one of the things people sometimes forget to do when playing is just that listen to what is happening around them. Am I to loud/not loud enough, does this fit the music we are playing, am I in tune etc. These things apply whether you play reading dots or not, and all come under music theory. Jazz musicians base a solo on scales (as in all music), it is how they manipulate the given scale that makes it improvised (the soloists style), it's the same with a rock solo although using different scales. However you play music be it by ear or from printed music I don't believe one is better than the other (I've never believed that) but I do think they can If you want to improve as a musician you need both. Being able to read and write music helps you under stand what are hearing, share you ideas with other musicians & be able to play any music in print with all the correct notes, but you may need to hear it to help with style. Playing by ear, if you hear it you can probably play it , but not always. The argument as to what is best by ear or learn music theory will go on forever, and never come to a full agreement. I think a mix of both is best and when you look properly at either method they do both use parts of each other with out trying. BIGd

[quote name='dlloyd' post='154988' date='Mar 10 2008, 11:25 PM']Why should he be? This original post in this thread was based on a number of misunderstandings. 1. The magazine printed one of the exercises in semiquavers instead of quavers, making it look like Janek was saying he was playing at twice the speed he actually does. 2. The original poster in this thread somehow managed to double the tempo again in his calculation. I've played about a little with the first couple of exercises and, while I don't think I'll ever get them to quavers at 400 bpm, I'm getting pretty comfortable with them. I can see the benefit they could give with finger independence. Just to see what we were talking about, I put the first Hanon exercise into Finale NotePad and set it to play semiquavers at 200 bpm. It's very fast, but no faster than your average jazz guitarist plays. I then set it to the tempo the OP thought Janek was talking about (semiquavers at 800 bpm) and... yeah... that's not possible. Funny though. Had it been a question of challenging him, I would have thought a simple question about it would have sufficed, rather than the accusations of dishonesty, followed by derision of his music.[/quote] I think you will find my calculation was based on notes per min. 4 quavers per beat @ 400 bpm = 1600 notes per min & 8 semi-quavers per beat @ 400 bpm = 3200 notes per min Perhaps Janek didn't help matters by not explaining the error in the magazine in his first post (the typo) If you would care to read my original post, it was never put up as a direct question to Janek, nor was it a challenge, accusation or derision of his music. It was as I have already explained, a request of a clarification on aspects of an article he had written, to be used in open discussion, this is is it not a public Forum ? It really is apparent some of you are not getting what a Forum/Discussion board is. It's for talking about things, in this case Bass things. For F*$k's sake lighten up, and please read a posting before accusing/commenting. BIGd

I was just thinking could this be the longest post/debate we have had on BC ? BIGd

My original post was in no way a "slagging off" of anybody, it was and still is a request for an explanation of an article in a magazine that I found hard to believe. I didn't make any comments about anybodies playing, style, musical taste, ability or any other personal comments. I thought posting a observation I had made would make an interesting topic. Maybe a discussion of this type is to much to ask, although I didn't think it to be that hard. BIGd

Janek, Sorry to have not got back sooner but things happen. In the main your reply seems to ask "why" as in "why do I "care etc. My point just to go over it again was. BGM is read by a wide section of Bass players, I would have thought many are young learners & new to music. You write and put up a learning technique skills section that on reading I still find hard to believe. "Why" do I care how fast you play - I don't, but I do care about the influence you have on learners who do care what you say. "Why" am I concerned about your 10 hour practice sessions, because as a pro musician don't you think you should encourage people to use a constructed practice session of a workable time period. Young players are very influenced by what you and other pro musicians say and do, some will take what you say as gospel. Your kind offer for me to come over to your place to see if I can keep up with you and that I could probably only last 6 or 7 minutes. Doesn't this just confirm my point about music first. Doesn't your offer make it into some sort of contest. I know I could not play technically the same as you, and as you said "why"would I want to but 3200 notes per minute..... really? To just ask "why" to every question is a very easy thing to do and is not addressing the points of my original post. I find what you have written as replies interesting but does not seem answer my points. Those being 10 hour practice sessions and the questions about the speed for playing your exercises etc. You have made the point of saying I should have contacted you with regard to this via email. Not post this "crap" on a forum. I posted this on the forum to discuss it with other people who understand bass playing. Your skills write up is for public reading and therefore open to public debate. I wanted to know was it just me or did others find your claims hard to believe. If you don't like people have a debate about your work then don't publish it, but never dismiss others opinion as "crap" because it's different to yours. On thinking about it, If you are offering a weekend in New York it would be very rude to turn you down, I love New York and could find loads to do for a weekend. Please forward my flight tickets and hotel details. BIGd

One thing I think that is missing in a lot of playing and music in general at the moment is music. I know that sounds odd but music is not a set of technical of exercises strung together. Technique is about developing your skill with your chosen instrument, music is about performing with your chosen instrument, a big difference. How many people do you see at things like Bass Day on the trade stands playing a million notes miles per hour, but can the same people play melodic line, or make what they are playing sing. When I first started to play music, some advice given to from an older musician was "you can tell it's good if you are still singing it on the way home". Using Bass Day as the example to work from, how many of the tech performances can you sing or even remember ? Now I'm not a Jeff Berlin fan but bet you remember what he did on the day and Steve Williams stuff as well. I don't believe a 10 hour practice would improve your playing nor your technique. As most teachers will tell you little and often pays far more that trying to force any technique.

What I find wrong with this kind of thing is. New players read this kind of rubbish and believe it. Janek & the editor should have more respect for the people who are going to read what they write & publish.

Just been re reading Janek's "Modern Bass Improvisations" in issue 35 of Bass Guitar Magazine. I say re read as I find what he has to say rather hard to accept. Firstly he claims to practice his exercises up to 10 hours a day ! Now we all know players who may play their given instrument all day or night, but to just be playing exercises for 10 hours, hmmmmmm yeah right. Second, he says start slowly about 50bpm, and then increase by 10bpm to improve speed. (no problem with that great advice) He then claims to go up to 400bpm playing through the first 3 Fragments. Now that means as the [b]1st & 2nd Fag[/b] is in quavers (eighth notes) at 400bpm he is saying he can play 1600 notes per minuet ! but then[b] Fag 3[/b] is semi quavers (sixteenth notes) making 3200npm. I'm would say this is not possible and even if it was, what would be the point. At that king of speed it would just sound like one long note or glissando. Some might say the point is the challenge of playing at 400bpm. I can sort of see that although, you may think I'm a bit old fashioned but, music is about just that making music, not how fast can I play it.