skej21

[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!

[quote name='silddx' post='1014291' date='Nov 6 2010, 02:12 PM']I agree. A cabbage with theory is still a cabbage.[/quote] Never a truer word spoken. Some of the nicest/best players I've played with couldn't even spell "theory" and some of the "best" (on paper) have been total cabbages! Let's forget about learning to read or not, how about learning something about professionalism!

[quote name='Truckstop' post='1014269' date='Nov 6 2010, 01:49 PM']I'd agree that a sound knowledge of theory could possibly impinge on your ability to groove and think abstractly.[/quote] I think I would have to disagree. My bass tutor/s have always told me that you should understand as much as possible and then choose to leave stuff out. Bassists without theory knowledge and technical ability are limited in what they can play, but a lot of players who get so theoretically/technically competant find it difficult/"below them" to play "easy" lines which results in overplaying. This is just an issue due to lack of discipline IMO and I think it's better to have a wide knowledge base and be selective in what you play across a large variety of music, than be a player with no knowledge and no choices. That IMO is the best way to work.

[quote name='silddx' post='1014186' date='Nov 6 2010, 12:45 PM']Most of us could probably sing that couldn't we?[/quote] Hell no! I'm a bassist which means I can't sing (unless it's at a poor backing vox standard!)

[quote name='peety' post='1009392' date='Nov 2 2010, 10:30 AM']Need to learn this pretty quickly and haven't reall got any time just wondered if anyone has got either a decent tab or the notation for it any offerings gratefully received thanks steve[/quote] In the time it took you to type this, you could have just tried typing "take that shine bass tab" into google? Also, "decent tab" is an oxymoron

Bad times. I hope he gets this back soon! I'm sure the Basschat people will be keeping eyes wide open, but any extra/specific info you could give would probably help massively!

Joe Osborn played bass on this track I think - [url="http://en.wikipedia.org/wiki/Joe_Osborn"]http://en.wikipedia.org/wiki/Joe_Osborn[/url]

[quote name='Bassassin' post='1007137' date='Oct 31 2010, 11:17 AM']So I take it you're looking for American tat rather than a proper Japanese one? Jon.[/quote] Haha, nope. Ideally just looking for something that's in reasonably good condition that I can look after I'm even open to something like a '72 Reissue Jazz from 1985. I just want a bass from 1985 that plays well, looks cool and is in quite good condition. Too much to ask? (P.s. I actually agree that Jap Fenders are incredible! Most of the recent Jap builds [like the Geddy Lee Sig] play better than most US basses IMO)

[quote name='BurritoBass' post='1006962' date='Oct 31 2010, 07:43 AM']Very much of it's era (& don't forget customs charges) [url="http://cgi.ebay.co.uk/FENDER-JAZZ-BASS-Special-Japan-1985-Precision-J-PUs-/200536469478?pt=Guitar&hash=item2eb0e7afe6"]http://cgi.ebay.co.uk/FENDER-JAZZ-BASS-Spe...=item2eb0e7afe6[/url][/quote] Man, this is REALLY tempting!! Such a perfect specimen I've never had a bass brought in from America that hasn't travelled in my hands before. Any idea what the customs charges would be?

[quote name='skankdelvar' post='1006904' date='Oct 31 2010, 01:00 AM']1985 was a bit of an odd year for Fender. After the CBS sale in March, the Fullerton plant closed down. With no US factory, all instruments were sourced from Japan. In October, Fender opened the Corona (USA) facility, but with only 10 staff and a limited, 'high-end' output, while supplementing this with Jap instruments badged as Fenders. Odds would probably have it that lots of 85 Fenders are Japs from outsource factories. Which is, of course, neither here nor there.[/quote] This is the reason I'm looking for one! Pretty unusual times for Fender and the basses will be an interesting collectors item because of that... It will also be a bass made in the year I was born (december) 1985 so that's the other main reason I'm looking

I was thinking that it might be difficult to get hold of one because it's kind of a mid point. Fender were still making good basses around 1985, but people may have twigged by then that collecting them for future investment might be a good idea. If anyone sees one, please let me know!

I'm trying to find a 1985 Fender Jazz or Precision Bass. What do you think the chances of finding one are?

[quote name='Doddy' post='1006182' date='Oct 30 2010, 11:52 AM']With the bands I play with,we'll usually get an email from the bandleader of any new tunes to learn,and then we'll play them on the next gig-normally within the same week.[/quote] + 1 I couldn't imagine spending 6 weeks learning a new song, especially a cover. I think I'd end up hating it before I even got to gig it!

[quote name='EdwardHimself' post='1005760' date='Oct 29 2010, 08:53 PM']I think if you practice along with a metronome enough you can get to the point where you don't need a click, unless you're playing with backing tracks or midi operated synths or sound/lighting effects live.[/quote] I agree. The issue is, that when adreneline kicks in, you might keep a consistant BMP throughout the song, but because your heart-rate has raised, your natural perception of time/BMP is a lot quicker than reality. If you ever play drums live with a metronome, or with a drummer who is using one, you'll get what I mean straight away. Because you're a bit pumped and ready to go, you tend to think "I'm sure this is slower than we normally play it" when in fact, you're brain is thinking faster than it normally does when you're playing the song (in a relaxed environment like a rehearsal or at home whenyour heart is ticking over at a normal rate)

[quote name='flyfisher' post='1005756' date='Oct 29 2010, 08:51 PM']Funny you should mention that - I've thought about suggesting it but was worried it would be a bit controversial. I've even wondered about programming my drum machine with a bass only beat and feeding it into the PA. Both might work and would also be a good way of being more consitent with the BPMs we actually play to. I've heard of recording studios using click-tracks, but never in a live context. Is it really that widespread? It would certainly help soften the task of raising the issue[/quote] My brother in law is a session drummer and has just come back from a European stadium tour as he plays with quite a famous band. He swears by his metronome because he is the first to admit that at live gigs (especially on such a large scale) the adreneline rush you get inevitably pushes you into speeding things up. It's a natural reaction that we all have, but when you're playing live gigs (particularly such important/large scale gigs) you want to sound as professional as possible. This is where the metronome helps, as it overrides the drummer's adreneline and stops him/her from naturally speeding. He uses this and mixes it into his in-ear monitors; [url="http://www.bosscorp.co.jp/products/en/DB-88/"]http://www.bosscorp.co.jp/products/en/DB-88/[/url] It also helps to make the track lengths/set list duration consistant so you can plan sets more easily

[quote name='JTUK' post='1005748' date='Oct 29 2010, 08:45 PM']Can't be doing with that either.. If we have agreed the way something goes beforehand, I don't like someone to forget or go off on one just for the sake of it. I make the disctinction between that and trying something on the hoof to make it work better...but only if it works better...ha ha !! Fine line, admittedly.[/quote] I think you may have misread my last post. I said most of the good drummers I know DO NOT change their drum beat rhythms, making them easy to predict and lock in with. As in, they keep bar 1-4 the same as bar 4-8... Instead of the poorer drummers I've played with who change their mind every four bars and make it impossible to lock in with!

[quote name='flyfisher' post='1005715' date='Oct 29 2010, 08:27 PM']Yep, 'locking on' is not a problem. Perhaps I'm being a bit over-sensitive. I used to play drums (still have a kit set-up at home for the occasional thrash) but I never considered myself good enough to play in a band. I could maintain a good rhythm but my fills were not 100% reliable and I was paranoid about not getting back spot-on the beat. Obviously I was worrying far too much. Again, it might just be me, but even when I drum along to CDs I find it takes a fair bit of concentration to keep really tight, whereas our drummer seems far too relaxed to me and I get the impression he's just following everyone else, which means things drift. There surely has to be a single point of rhythm reference and I've always thought of that as being the kick drum. That's the drummer's key responsibility isn't it? Not that I'd ever claim to have a lot of live experience, but 4 bands spread over 6 playing years (excluding the schooldays) with a reasonable number of gigs ought to have taught me something I reckon. I recall an old joke or anecdote about a British wartime bomber aircraft (a Wellington?) being described as 5,000 rivets flying in a loose formation and I reckon that's a good simile for the band in question. Not so much one band as five individuals playing the same songs.[/quote] Most of the really good drummers I play with have some form of metronome ticking over in their ear... even at live gigs which means they're always tight and things don't drift. The good drummers I play with also don't change their drum bass rhythms. Fair enough, someof them make it complex/interesting, but it's consistent which is the important thing. As for drummer jokes... How do you know when the stage is level? The drummer drools from both sides of his mouth

[quote name='Spoombung' post='1005649' date='Oct 29 2010, 07:22 PM']Oh c'mon guys. You absolutely [i]do not[/i] need a kick drum in a drum kit! Latin music's done without it for decades. It's a monumentally useless, unnecessary drum.[/quote] And if he isn't playing the bass drum, you won't have the classic problem of trying to tie-in with a continually changing bass drum rhythm! Hurray! Tell him never to play it and provide that THUD with your fingers