skej21

[quote name='Doddy' post='1016679' date='Nov 8 2010, 06:31 PM']I bet he can't [/quote] I bet he could if he just "felt" it like silddx Who needs theory to play complex time signatures. Subdivisions were just created for all the beginners who couldn't "feel" 5/8 against 11/8. Bloody amateurs!

[quote name='dave_bass5' post='1016424' date='Nov 8 2010, 02:49 PM']Oh my word. Do Fender know about this new change of direction? [/quote] Yup. Watch from about 6:55 minutes in and that should explain all about how Leo designed Fender parts to be interchangable.

And we're back to the massively subjective arguments, irrelevant opinions regarding specific cases that prove nothing and of course, the classic sweeping generalisations. The fact is, a groove is created through practical application of elemetns such as rhythm, melody/harmony and instrumental technique. Therefore, a "versus" comparison is impossible. The only other fact is, how you learn the elements you need to groove is not important, whether you like/dislike the outcome is not important and whether you've seen sh*t players who knew loads about theory (or visa versa) is not important.

[quote name='mcgraham' post='1015637' date='Nov 7 2010, 08:04 PM']So have I However, that shows they are not geniuses of music theory, as they lack rhythm skills, and the skills to apply whatever intellectual knowledge they may have acquired. It's like uni students who have all the books and can recite things from books and equations verbatim, but as soon as someone asks them to use that info to solve a problem. they get stuck on the first line. It's not the theory that is at fault, it's the player's lack of ability to use it. Theory is just a tool at the end of the day. Those who say they know loads about theory but can't play should not discourage people from learning theory.[/quote] MASSIVE +1

[quote name='Pete Academy' post='1015628' date='Nov 7 2010, 07:58 PM']I have witnessed musicians that are geniuses of theory that can't play in time or improvise.[/quote] That, however, is based on your opinion and the subjectivity of your opinion based on YOUR personal theoretical knowledge. For all you know, they may be playing a groove that to you sounds bad, but is actually a very very complex polyrhythmic groove based on advanced theory or complex rhythmic patterns. The fact is, theory and groove are linked together. Whether your opinion reflects this, is irrelevant.

[quote name='Pete Academy' post='1015610' date='Nov 7 2010, 07:50 PM']Sorry, but I disagree. How can it be impossible to groove without theory? Play one note, in time, with a groove, and you have the audience hooked.[/quote] Okay. You must know SOME theory to pick up a bass. Whether that is the motorskills to be able to use the bass, or knowing that the note you're basing your groove on is "in key" or the rhythmic patterns that you choose to use within the groove. Playing a rhythmic pattern that "grooves" against a drummer means that you have an understanding of theory (even if that's just through years of learning by ear and listening to grooves by other bass players and copying them) You might not understand the theory, but you can copy and apply it, which means theory and groove are linked so closely that they cannot be considered as two elements in order for you to pit them against each other. It's both, or nothing...

[quote name='chrisd24' post='1015607' date='Nov 7 2010, 07:48 PM']Neither body is loaded and the neck I already have to put on it is a jap fender one. Both are immaculate and the same price.[/quote] I'd guess that the Fender neck and the Fender body will fit together perfectly, as they will have been cut to very specific measurements specific to Fender factories because Fender designed their parts to be interchangable in case of one part breaking etc. I know a friend of mine had an Allparts bass neck and a Fender body and he needed to sand bits to get them to fit together properly, so they weren't a perfect fit. I don't know anyone who has had a Fender neck to put on a Fender body, but I'd imagine that they need less work/sanding and should fit together better.

Why is it theory VERSUS groove. Surely I'm not the only bassist on here that can do both, and at the same time? In fact, it's impossible to groove without theory and it's impossible to understand theory without being able to put it into practice. You have to at least understand SOME of the theory (even subconciously) behind how a bass works/how your fingers produce the sound in order to groove, so your argument is fundamentally flawed. This thread might as well be called "Trolling versus Sh**stirring, which one is best?"

[quote name='pantherairsoft' post='1015580' date='Nov 7 2010, 07:26 PM']I'm trying to not buy gear at all... Just enjoy what I have. If I sell anything, than money will be better spent elsewhere away from bass gear. I am going to aim to no trade anything either... Live with and love what I have, or sell it and use the money wisely![/quote] Wise decision. You also resisted the temptation The force is strong with you. Good Luck!

Is the pledge to not spend any more money on gear that you are lusting after, or to not buy any more equipment? Can you sell things and then "reinvest" that cash, because then you would have not spent any more of your own money, technically

[quote name='blackmn90' post='1015540' date='Nov 7 2010, 06:53 PM']Rockshool are a bag of crap. I would advise taking guildhall. I took grade 5 rockshool, i got a piece of paper saying i had a merit, that was it. With Guildhall i got a marking sheet which said where improvements could be made. Guildhall then is money well spent. Rockshcool in my opinion is a complete waste of it[/quote] LCM also provide a marking sheet with constructive criticism in each of the specific areas that they mark. I agree that it is a lot more useful to have this than just the certificate.

My old tutor gave me a great piece of advice for this. If you play something that sounds rubbish/make a mistake, then repeat it. Two reasons why this is successful: 1) People like repetition in music and like to hear something that they recognise (regardless of how bad) 2) Repetition makes people think that you intended to do it (because you surely wouldn't make the same mistake twice in a row! ) and more importantly, think that it was some amazingly complex fill based on some unfathomable music theory! I only ever did this once or twice when I started playing. Now, I play nice grooves OR complex jazz, so the "wrong" notes either don't crop up or they are in the right context

[quote name='flyfisher' post='1015491' date='Nov 7 2010, 06:19 PM']I've known a few freemasons in my time, firemen, policemen, salesmen. I was even invited to join a worshipful company of city somethings once upon a time, but politely declined. I can't quite put my finger on it but there's something a little bit creepy about 'secret' organisations. Plus, in my experience anyway, they would seem to be populated by people who seem to need the status of belonging to something as an antidote to their lack of individuality or accomplishment. But I'd hope that wasn't always the case.[/quote] I don't think the Freemasons is really that much of a "secret"... There may be "secretive" bits that go on behind closed doors, but that happens with loads of things. I imagine it's like being in a band. You have a few fellow band members and most other people know who members of the band are and when they rehearse, they do it behind closed doors and out of public view, so they can keep new material to themselves and can work/communicate with each other without distractions and interference. I don't see much wrong with that.

[quote name='JamieBenzies' post='1015510' date='Nov 7 2010, 06:31 PM']I got a merit in grade 8 Bass with Rockschool in October '09 thinking it might be beneficial for music college applications etc. So far I have had absolutely no use for it at all.[/quote] Can I just say something in response to this, as it's a reckless and flippant comment and people could get the wrong idea. Taking ANY (LCM, Rockschool, Trinity Guildhall or ABRSM) graded music examination above grade 5 (theory or instrumental) will contribute towards your total of UCAS points when applying for University places. If your actual A-Level/BTEC grades alone do not supply you with enough UCAS points, any points gained through graded music exams can be invaluable and could secure you a place at Uni (and if your A-Level/BTEC grade is good, it's just a good way to ensure that you will [b]definately[/b] have enough UCAS points) Just because you THINK it didn't do much, this may not be the case for someone else.

[quote name='munkonthehill' post='1015462' date='Nov 7 2010, 05:37 PM']yip the handshake is there, but there aint no process or ritual. Certain words, actions and phrases would direct you to a fellow brother.[/quote] Maybe ritual was the wrong word. What I meant was, you need to signify you are a fellow brother in more ways than JUST the handshake. Which means the learning the handshake alone would be pretty useless, because you would fail to respond correctly to the additional elements, such as the questions and phrases?

[quote name='AttitudeCastle' post='1015447' date='Nov 7 2010, 05:20 PM']Haha thats fine because thats the only bit which is wrong in that post!! Thanks ever so much man![/quote] Anytime That's what this forum is for... helping other bass players in a friendly way Glad I could help mate.

[quote name='skankdelvar' post='1014819' date='Nov 6 2010, 10:35 PM']It's true. I'm not a Mason but years ago I found out how to do the 'I'm a really [i]very [/i]top bloke' handshake and had lots of fun with it. [/quote] I know quite a few masons and they always tell me that even if you know the handshake, it wouldn't get you anywhere because it's just the first step in a series of rituals to show that you are in fact a member. This might not be true, as I'm also not a Mason. Maybe munkonthehill could clear it up for us?

[quote name='Doddy' post='1015101' date='Nov 7 2010, 11:24 AM']I've not taken any of the exams,but I have taught upto(and including) grade 8. It won't do you any harm by going through them. You'll have to cover various scales and arpeggios which is a good thing,and then you've got the play along tracks aswell. It's actually a pretty decent course.[/quote] + 1 I teach Rockschool & LCM upto (and including) Grade 8. I would agree that courses such as this are good for helping you to develop your playing with a specific focus on technicality, musicality and music theory. The way I see them is like when you have driving lessons. The lessons help you to get comfortable and gain an understanding, but you don't really learn to drive properly until you drive on your own for a while. Great starting point and they'll help you to develop your playing skills and help you to gain confidence in your playing, but I always advise students to become an active musician and try applying the stuff they're learning in a practical/musical setting, not just in their lesson.

[quote name='AttitudeCastle' post='1015353' date='Nov 7 2010, 03:36 PM']I'm testing the water here as i feel very foolish indeed, BUT surely then its 4ths from E-A-D-G But if you were "tuning backwards" as it were from Highest to lowest, G-D-A-E (normal tuning just saying it backwards?) Then its in 5ths? [u][b]Ie Decending, but E to G is Ascending so its 4ths?[/b][/u] ^ Is that correct or am i still wrong and confusing myself?[/quote] If you were tuning backwards BUT still ascending, as in GDAE in place of EADG retrospectively, then yes. That would be in fifths, because in ascending intervals, G to D is a perfect 5th, D to A is a perfect 5th and A to E is a perfect 5th. As for the bit in bold/underlined, you've lost me entirely with that lol

[quote name='AttitudeCastle' post='1015319' date='Nov 7 2010, 03:03 PM']As the circle 5ths is B E A D G C F Bb Eb AB Db Gb[/quote] Also, I think you have confused yourself a little bit, the note sequence above is a circle of [b]fourths[/b] (not a circle of fifths). A circle of fifths is - C G D A E B Gb Db Ab Eb Bb F (which is the circle of fourths backwards) Hope that helps

It's tuned to 4ths because the only way you can work out intervals is if they are descending or ascending. When tuning, you start with the bottom (lowest) string and work UP to the top (highest) string, which means you are dealing with ASCENDING intervals. This means that the bass is tuned in 4ths because E to A ascending is a perfect fourth (rather than if it were descending, then it would be a 5th) For example, A is a 4th above E. So B to E is a fourth upwards, E to A is a fourth upwards, A to D is a fourth upwards, D to G is a fourth upwards and G to C is a fourth upwards. Might be a bit of a lengthy explanation but hope it helps?

I was thinking about this the other day and wondered what other people would think. Freemasons are a fraternal orgainsation and have secret handshakes etc which allows each member to recognise another and in some situations, offer sort of perk/advantage for those involved. Whether this is true or myth, it's a bloody good idea IMO. Here's the important bit. Why don't we have a "bass players" version? We already offer some advantages in the "for sale" section when we know that we're selling/buying to a fellow bass chatter who can be trusted, for example. However, imagine this. You spend a lot of time at work, and on the whole it's ok but the other people you work with lack any passion for music (or worse, they're a guitarist) Imagine now, that you knowingly employ a fellow bass player (thanks to the complex system of handshakes etc) and now you get paid for having lengthy discussion about GORGEOUS basses, your inability to control your GAS and whether you should be a reading bassist or not Alone, such an alliance cannot be created but together we could make the world a better place (even if it's just for bassists!)

This; I'm teaching the kids at school about Gamelan and Bali-based fusion music, so this was in there. Super catchy and great groove. Shame about the guitard solo

[quote name='Truckstop' post='1014195' date='Nov 6 2010, 12:56 PM']Isn't anyone worried that it's so light? I find that ultra light cabs tend to lack that certain... je nais se quois? I dunno, they just seem to lose a bit of projection and bassiness. I can't describe it! Truckstop[/quote] Personally, no. I have a GS112 and that packs more punch than pretty much every cab I've ever played through! Will have to try the SL112 but have a lot of confidence in it being good! If the rumours about these mini amp/cabs are true, I'm going to be all over it like a tramp on chips!

I would agree. Revolver (and in particular "Taxman") is one of the reasons I picked up the bass!