skej21

I think the reason I'm loving it so much, is that it's just my idea of a perfect gig. I get to explore new music that I've barely played before, I get to use skills such as sightreading (which makes the hours of practice come to life and feel worthwhile) and it's just a huge adrenaline rush when you nail some really tight, snappy passages first time! The musicians I've worked with have all been incredible too, and all really nice, modest people! I think I definately have the bug, and the standard of musicianship from the other pit players is really inspiring. Such a great way to gig and really satisfying when you're packing up/driving home. I'd highly recommend it

Musicals What do people think? Love 'em? Hate 'em? Have a favourite? Playing in the pit for one? I've found myself taking jobs in the pit for quite a few musical productions (good and bad!) recently including Hairspray, Lion King, We Will Rock You and Dreamgirls, and I'm having loads of fun with them, despite thinking they weren't "my kinda thing" musically before I started. Just wondering what the overall opinion of the mighty bass community is regarding musicals?

[quote name='TheGreek' post='991540' date='Oct 17 2010, 08:09 PM']So true...going by the Mick Karn thread I think that respect from your fellow bass players is equally important - at least till the time to pay the bills is concerned. Would you rather be a rich, talentless sh*t or a respected player with little cash? What ever happened to integrity?[/quote] We all sold our integrity to pay the bills!

[quote name='Jean-Luc Pickguard' post='991317' date='Oct 17 2010, 05:07 PM']I had a couple of these in the late 70s, but they weren't leather and I can't remember whether it had a buckle like that. Are you sure it wasn't cobbled together by someone? ie the fabric bit of a Fender Monogram sewn onto a plain leather one? I find the suede levys leather straps much more comfy, but for anything heavier than a mustang I'd get something wider. The Fender neoprene strap is supremely comfy, but not as vintage-looking.[/quote] It definately isn't cobbled together. It has all the original bit and pieces but is just wearing away from years of use

Another + 1 for the GS112! Aggy in general are great, and I would suggest that if you're already thinking about getting one, it's likely that you're already in love with them! Buy one and don't look back. Great gear!

Help me please! I appreciate that this probably a HUGE long shot (and somewhat trivial topic ), but I would appreciate any help from a fellow bass chatter! I currently own a Fender monogram strap and love it (don't judge me just yet!) but it's falling to pieces However, the strap in question is not one of the new, plastic-based, poor escuse of a bass strap. The strap I have is the fabric and leather monogram with metal buckle (picture attached below). I don't know exactly how old it is or how many of these were produced. It was given to me when I first started playing bass by my dad's friend who said he'd had it for nearly 30 years, and it was so comfortable that I've kept it and used nothing else ever since. Could anyone help me and/or point me in the direction of buying another one similar to this?! I can't seem to find one ANYWHERE! (If not, could anyone suggest a replacement please? Something that is not too bulky, but is also very comfortable!)

If the guy running the audition is a drummer, he'll want to see if he can play with you and see whether you can lock together quickly/tightly. The best way to win him over is if you play something simple with a solid groove. If he starts air drumming or playing on his knees/chairs/desk etc, you'll probably get the gig!

[quote name='JTUK' post='989808' date='Oct 15 2010, 11:30 PM']I don't like oblivious people with no ears[/quote] Nevermind oblivious ears... people who are oblivious to the very obvious "you're playing in my space AGAIN!" death stare! When will they take the bloody hint!

+ 1 that the money is in songwriting. Prime example is definately Oasis; "Noel had often joked to McGee that the whole Rock-and-Roll industry was built around one ambition - to own a chocolate brown Rolls Royce. Following the success of (What's the Story) Morning Glory, Creation Records held a banquet to thank the band. Bonehead, Guigsey and White received valuable Rolex watches, to Liam went a solid gold Rolex. Then came Noel [the songwriter], to whom McGee bequeathed the much-desired chocolate brown Rolls Royce."

[quote name='risingson' post='989766' date='Oct 15 2010, 10:44 PM']In that case, I'll play whatever way the great Elizabeth Windsor got taught to play. She's a mean fretless player ya know.[/quote] Yeah I heard that, but she has to keep it secret from Phillip... he just can't hold his tongue around that unlined Ebony neck!

[quote name='risingson' post='989753' date='Oct 15 2010, 10:39 PM']I got taught in quaters eights and sixteenths, most jazz players talk like this also on both sides of the pond.[/quote] Yeah sorry, I was trying to inject of bit of humour into this somewhat intense theory discussion... I'll get my coat.

[quote name='TimR' post='989729' date='Oct 15 2010, 10:30 PM']do you want to be on a course where people are being taught what a quarter note is during their first lesson?[/quote] Unless I was studying in America, I'd hope it was called a crochet

[quote name='stingrayPete1977' post='989716' date='Oct 15 2010, 10:17 PM']I have no grades at all nor can I read music (the same for many musicians if we are still allowed to call ourselves that?) and recently spent an evening with a very fine classical player who came to a blues jam with me a couple of years ago and said he wished he could do that,I thought he was taking the piss at first but he wasnt and he got me to go and show him the basics of the 12 bar and a few simple licks to get him started. I was amazed at what he could play if it was in front of him and literally nothing without! It was like some kind of comedy sketch. You cant teach rock its not possible ,Look at cold play and all that stuff,Middle class mushy rockers cant do a full on Metallica thing,They think they can and I have played with some top notch drummers that read symbols and all sorts of stuff but when it comes to the final rock out at the end,Nothing.....its not on the page.[/quote] Totally agree. That's why I urge my students to master as many areas as possible. There's a preconception that classical musicians can only read, and pop musicians can only busk, but as musicians we should master at LEAST both of these skills. I hate the phrase "jack of all trades, master of none", or "one trick pony"... Musicians shouldn't happily accept such stereotypes and should aspire (and be encouraged to aspire by their tutors) to master a range of fundamental skills, such as playing by ear/feel, reading, music theory and composition.

[quote name='risingson' post='989701' date='Oct 15 2010, 09:57 PM']I base it on long term experience playing with people that claim to be proficient under the guise of graded examinations. I studied to Grade 5 theory as I had to to go on and study music in Liverpool, but I only took the exam because I had to really. It's seen as an essential thing to have, but this I also believe was more to do with filtering out those with and without basic theoretical knowledge from my particular course (the wrong way to do it IMO).[/quote] To be fair, theory is like every other aspect of music. Some people put in the effort, practice and time and it underpins their practical knowledge and some people think of it as a hoop to jump through. Personally, I think theory is hugely important in making sure you have a solid understanding of your function within an ensemble, and more importantly, the musical impact your part has within a piece/composition. This maybe a personal view and down to my extensive theoretical study (Grade 8 [Distinction] and LLCM) I think theory is important, because every time I do anything theory based, I think about how it would be if I was playing it, whereas a lot of people think of music theory solely as an exercise on paper.

[quote name='sambassman' post='989667' date='Oct 15 2010, 09:22 PM']LCM dont accept anyone under a grade 8 standard. now in my opinion thats quite a high standard of playing. it is also a conservitoir which are EXTREAMLY hard to get into. it isnt one of the most repatable music institutes in the country for nothing. . .[/quote] From what I remember this is incorrect. A lot of people from my college studied at LCM and the entry requirements were simply based on passing a basic audition (which one of my friends did quite badly with, messed up the sightreading and failed the grade 5 standard theory test but still "passed" the audition) and then once the audition was passed, prospective students simply had to get 3 Cs at A-Level (or BTEC - Merit, Merit, Merit) to be allowed onto the course. Pretty easy requirements to meet in my opinion.

This has to be in there.

[quote name='jakesbass' post='988509' date='Oct 14 2010, 10:07 PM']I've said all I'm going to say on the issue, the way you come across is very poor on the evidence of these couple of threads, my feeling is that if you carry that kind of prejudice onto the professional bandstand it won't be very long before you have a limited diary.[/quote] MASSIVE plus 1 Your inexperience as a working musician has shown through here, and I'm sure that such an unprofessional approach in an environment/forum that not only has a tight-knit community of bass players, but also bass players who have a large network of other musicians/instrumentalists will come back to haunt you. Such a needless, moronic thread to start.

Can I point out that there is a difference between the University of Leeds and Leeds College of Music. They are in no way related, so maybe think/check your facts.. You have also made the mistake of judging these musicians on the reputation of an academic institute, which is just ignorant, because any rational musician would know that ANY player can slack off, be lazy and/or not practice, regardless of who they study with/where they study.

You appear to have stumbled across a problem that a lot of people have when auditioning for bands. These guys had a sequenced bass part, with a limited number of notes and had a clear idea of what they expected from the bass part (and therefore you), which was clearly highlighted in the way they worked/recorded/viewed the bass part. If you were unhappy from the start and wanted to change it, that in itself tells you that it's probably not the band for you. They probably told you what you wanted to hear to get you to the audition, thinking that (like a desperate other half) they could "change" you to be the bassist that they wanted. This then leaves you with the dilemma of "do I act professionally and play what they want/expect, but take a back seat" or "tell them to stick it where the sun doesn't shine"? Really, you as a musician should have noticed the incompatibility from the start really. You know the kind of player you are, and should therefore be able to judge whether or not you are suited to a band or are willing to compromise. I will say one thing though. Are you limiting your musical opportunities by being unwilling to work outside your comfort zone? Maybe try shaping your playing to fit a band rather than finding a band to fit you. Working outside your comfort zone might push you and improve you, and you never know, you might actually ENJOY being a musical chameleon!

[quote name='Wolverinebass' post='968527' date='Sep 26 2010, 04:37 PM']Whilst I am someone who has a problem with authority per se, I will never, ever be dictated to in how I play. I'll have a rational conversation about it, but I won't be told "you [b]have[/b][u][/u] to play this...." Er, no. If I wouldn't do that to anyone else, [u][b]why should I take it?[/b][/u] Anyway, I'm wondering what other people's thoughts are on this.[/quote] If you were a reading musician, you wouldn't rip up the score and compain that you weren't going to be dictated too, would you? Why be any different when you've auditioned to be in someone else's band? I could understand you being protective over your parts if it was your band and your music, but if you've joined a band to fill a void, you should play what the songwriter/leader asks you too (maybe with the addition of a limited number of slight stylistic improvements) You should take it because being in another person's band isn't all about you. Being professional in your approach to bass is more about fitting into the band and the collective vision (or the vision of the band leader/creator) than trying to show everyone how good you are individually. You don't have to play hundreds of notes and flashy OTT slap riffs to write a good bass line, as exemplified by this (only using 4 notes in total throughout!) P.S. As for Guy Berryman, I happen to think that his bass lines are perfect for the music he plays (for example, 'Trouble' wouldn't be the same without the signature bass part).

[quote name='chris_b' post='968400' date='Sep 26 2010, 02:33 PM']If by that you mean that your hearing will recover to the level it was, you are wrong! Your hearing will be damaged. Mostly the damage is slight and you won't notice the little by little loss until it is too late. Please understand that no hearing damage is reversible.[/quote] Oh, misunderstanding. You are right, you will retain slight hearing damage, that over time will build and result in hearing problems. What I meant is, you won't gradually strike off each of the individual frequencies in your hearing range one at a time, like some sort of list, which is what most people think. I totally agree that people be careful and should also add a BIG + 1 for ALWAYS using in-ear monitors or ear plugs to protect your hearing. Essential!

Thought I would offer a bit of reassurance. It's actually a HUGE myth that the frequency you hear ringing in your ears vanishes from the spectrum of frequencies that you can hear. What is actually happening, is that the hairs in your inner ear (that react to sound waves and help to work out frequencies before converting it to a signal and sending it to your brain) are knocked flat by the power of the air/sound waves and causes that flat ringing frequency, which is that constantly sent to your brain. The hairs will take a little while to recover, but will soon stand back upright and start functioning properly again *edit* but any hearing damage caused as a result of not protecting your ears will be retained!

I got the '57 Classic Series P Bass. Put some flats on it and it rocks the hell out of everything. Just incredible (so much so that it converted my friend who know wants one, despite the fact that he HATES P basses and flats ) Seriously... just buy one. 99% likely that you won't regret it, and if you do, you'll soon shift it because they are GREAT basses!

Slightly unrelated, but I tried DR Black Beauties a few years ago and they went dead VERY quickly. Is this a common problem with DR strings, or did I just get a bad set?