algmusic

[quote name='Truckstop' post='1320292' date='Jul 29 2011, 11:58 AM']Oh, I agree with that totally! If the aim of your band is to keep people on the floor, then yeah, you need to/should shoehorn similar songs together to keep the vibe going and a medley is the way to do that because sometimes disco songs kind of wind down at the end (Walking on Sunshine being a prime example). But it's different if you're not a disco/party band and you want to play 3 or 4 songs by the same artist down the pub without people getting fed up. Truckstop[/quote] Yeah, when I do a pub gig and we have a few songs by the same artist we actually keep them separate.. So might play a some Foos one in the 1st and one in the 2nd/3rd set the same with kings of leona ;-) or killers.. The pub can be slightly different animal at times, as some are happy to site and watch others wanna boogie.. I think you have to read them more than the wedding crowd at times, as I think the party crowd are usually always up for a party, just just gotta convince them ;-)

[quote name='crez5150' post='1320275' date='Jul 29 2011, 11:47 AM']I have to say that the medleys/segue what ever you want to call it really work for us. We do a couple by the same artist but more of them are by various, we use it as more of a way of building up pace/tension on the dancefloor. Then again I guess it depends on what music you play. Our remit is keeping people on the dance floor all the time which is exactly what it does.[/quote] +1 P.s. if you ever need a dep bassist or dep drummer, i'm not far SE london. Your bands look like fun (shameless plug :-))

[quote name='Truckstop' post='1320221' date='Jul 29 2011, 11:16 AM']Medleys are good if you want to play lots of songs by the same artist. Really, IMO, you shouldnt play more than 2 songs by the same artist unless you're a tribute group so a way to get around that is to pick 4 or 5 songs you want to play and mash them together. My pub band does this with The Who (it's handy for skipping the synth parts aswell!), Elton John and Free. I don't think it'd work if half of your set was medleys. It'd get very boring! It's clever the first couple of times, but after? A bit naff! Truckstop[/quote] I have to disagree, you don't have to stick to the same artist, you just have to make sure it works.. Either simluar tempo or feel or groove, and same or complementing key.. One of my bands does Valerie (Mark Ronson Version)/Walking on Sunshine/Can't hurry love/Footloose because they have the same vibe swing style vibe, it works and we play about 3/4 of each song. We play that in the second set and people never stop dancing. It's always beena winner, then we keep it up till the end of the show bar one slowish song for the audience to catch their breath

[quote name='silddx' post='1320234' date='Jul 29 2011, 11:27 AM']I think you're right. And boundaries have to be pushed. However, I think the best musical development is often developing one's own musical philosophy, and that comes from immersing oneself in listening, reading, playing, recording, discussing etc. I think when you start to find what it is about music you like, dislike, love, find easy and difficult, you start to strip away what is unnecessary for your own expression, and develop what is. Sometimes forums like this can put a lot of pressure on people to feel they need to learn this, that, and the other - and often it takes a lot of will to turn it around and truly believe you can be expressive and fulfilled without certain elements of what might be called an accomplished musician, Being able to play all styles, sight-read, knowing a variety of techniques and such. I think the process is a sort of self-sculpture, chipping away at what is NOT you, and revealing what IS you. Then you can learn what you really want and need because you have a purpose and it will be inspiring.[/quote] You have explained what I wanted say in a much better way

I have mixed feelings on medleys.. I think I prefer segue, as then just clip some of the song maybe at the beginning or end. The key in functions is to really keep the audience moving and dance, the minute the music stops, people are usually think about sitting down or getting a pint. If you do a few segues (3 or 4 songs), you have the audience their feet for 20minutes and it's high impact Most the bands I'm in do about 2 or 3 in the set which keeps the energy up

I would have to agree with the OBC410 it's the most practical choice, but has anyone tried it with a Barefaced Super Twelve.. I wonder how that would sound :-) * rubbing hands eagerly* Some must have tried this

[quote name='Bilbo' post='1320159' date='Jul 29 2011, 10:31 AM']When one basschatter's post stops and another starts.... Seriously, though, I think technique in music is like technique in acting; if you can see it happening, its not working. Trouble is that there are more impressionable kids whose heads are turned by Wootenesque excess than there are people who can recognise what makes a great musician truly great. It distorts everything. I was thinking about the slapping/popping/tapping stuff and wondered how many notes are played with those techniques that are truly musically appropriate as opposed to showboating. I suspect the ratio is not in favvour of musicality.[/quote] +1 when I was younger I used to love watching marcus miller soloing and slapping etc.. now I actually have realised that the part of his playing that is king is his groove and you see that when he is playing for others playing simple things and not soloing. TBH, I couldn't listen to the whole of his solo album now, but could easily listen to his work with Al Jarreau playing with Steve Gadd

[quote name='Earbrass' post='1319398' date='Jul 28 2011, 03:07 PM']Hmm, but aren't most people encumbered more by their [b]lack[/b] of technique than by a surplus? The more technique you have, the more options are at your fingertips - although it's still up to your musical sense to select the right option.[/quote] It's being able to use your technique effectively.. I would say I have much more technical knowledge of music on drums. When I was younger, I always wanted to play the last 'trick' I learnt in my drum lesson or other teaching aid, but as I grew up musically, I used those tools to play what feels right for the music. So when I started playing bass much more seriously/professionally, I actually used what my limited knowledge to play the simple things well to play for the song, now I know much more I still take that view of just playing what feels right for the song, but at home, I practice techniques and I also practice just 'playing what comes out'. I think alot of people think that the top players, just play theory, but they actually and try things out and push the boundaries artistically to see what comes out, so when they play live they can ' just play what feels right' rather than just a theory.

[quote name='Thurbs' post='1320138' date='Jul 29 2011, 10:19 AM']If you are after the ashdown sound, I would get a ABM head (much better than the MAG) and then get a MAG 410. When funds permit you can then upgrade/add the cabs and you will have an awesome rig. Some ABM Heads [url="http://basschat.co.uk/index.php?showtopic=148053&hl=abm"]http://basschat.co.uk/index.php?showtopic=148053&hl=abm[/url] [url="http://basschat.co.uk/index.php?showtopic=141468&hl=abm"]http://basschat.co.uk/index.php?showtopic=141468&hl=abm[/url] MAG Cab [url="http://basschat.co.uk/index.php?showtopic=134736"]http://basschat.co.uk/index.php?showtopic=134736[/url] Shameless plug for my 410 for sale[/quote] +1 I'm not an ashdown fan either but the ABM series is mile better than the MAG That's a great deal. Snap that up matey. It'll handle the knocks of gigging too

[quote name='Doddy' post='1319380' date='Jul 28 2011, 02:48 PM']it's about being unencumbered by your technique to allow you to play what you want.[/quote] [size=6]Yes[/size]

no worries.. keep your eyes peeled there's lots of deals here and if you don't like it you can easily swap it for something else.. that's what I have done.. I swapped my markbass for a terror bass head

There are some much bigger geeks on here who know about all this stuff, but that 4x10 should be fine in my OP. I've had simluar for a rock band and it was great I'd rather get this that any of those two [url="http://basschat.co.uk/index.php?showtopic=145727"]http://basschat.co.uk/index.php?showtopic=145727[/url]

Out of those two.. if you can handle the 4x10 for weight, it will sound miles better. You'll get punch and bottom end, as the 1x15 will lack punch over the 4x10 on the orange front or other options, I've always bought secondhand, bar one cab.. You could get some good deals on this site.. Personally, I like a separate amp and cab as you can change either when you want and also you cab take your own amp to rehearsal studios etc or you can get a second cab for flexibility like a 2x10 then 1x15 or two 1x12 . Also if one part goes wrong, it's not as bad. on the flip side, the cab is everything in one box What sort of band is it? There are other options

[quote name='Merton' post='1318743' date='Jul 27 2011, 09:47 PM']No worries dude, not your fault or problem really [/quote] Ditto

[quote name='Doddy' post='1318305' date='Jul 27 2011, 02:36 PM']The guitarist sounds like he's trying to be John McLaughlan-kind of understandably because they're playing stuff from 'Jack Johnson'. Shame it's not really working.[/quote] I have friends that play like this, but they can.. he looks really uncomfortable, like someone sawn off his toe.. he's trying too hard.. Plyaing like that is really tricky. I met a horn player that palyed like that.. it was painful too. ah bless x

The guitarist is AWFUL... It would sound so much better if he just stopped! He's clearly out of his depth.. I'm usually one to rant, but he's really having a guitar w8nk.. badly.. especially through the horn's solo.. Is he just just some random that came on stage 4:52 says it all really.. the bassist is cool

[quote name='janmaat' post='1318216' date='Jul 27 2011, 01:19 PM']When I was a kid, I was a Christian, then I became a Marxist, then an Anarchist... There is something in the change of believes and the change of tastes in music. Unless you die at 27, you'll probably end up accepting that nobody knows the full truth. We all start up considering ourselves progressive while being really really conservative in our "I am young and I like hard music" approach, as we grow older we tend to find these classifications less important altogether. Tastes and moods change with time, but I always knew there is boring stuff in any genre and great stuff in any genre too.[/quote] +1

[quote name='Maverick' post='1317820' date='Jul 26 2011, 11:53 PM']The worst musicians can make you weep with one note - it has to be the wrong note, played in the wrong place, the wrong time and with the wrong feel, of course.[/quote] that made me laugh.. I know a few like that

[quote name='lojo' post='1317512' date='Jul 26 2011, 07:25 PM']Would going from Jazz to Rock be like shrinking ?[/quote] Simple answer.. Nope.. I've started on Soul, R&B (90's), UK Garage, reggae, Dance, Fusion, Rock, Indie, Heavy Rock, Funk, Blues, Jazz, Metal, Folk, Pop... now I just listen to what feels good at the time.. Now if I do alot of rock.. I want to play something funky or soulful.. if I play alot of jazz/fusion I want to play something poppy I like balance.. I do alot of stuff that overlaps, so it's very easy to jump from genre to genre in the same gig and even song

[quote name='risingson' post='1317779' date='Jul 26 2011, 11:15 PM']I agree almost completely. It's just that so metimes after a certain point, technique becomes redundant in the wider picture of performance. I have practiced technique on the bass for years and have worked hard to get it down for the same reasons you describe, but my point is that with a Bowie record or a Beatles record, two artists I consider to be greatly influential, the mistakes and sometimes lack of technical ability colour the track and give it the idiosyncrasies that make it unique. I like good technique, but sometimes in some cases musicians who have practiced good technique are actually quite uninteresting to listen to (in my view at least). Example: Toto, a band of the tightest L.A session guys going. I like listening to some of their stuff because of their technical competency and the fact they've written some very decent tunes, but prolonged listening often makes me think that they're too tight. Their music can lack character because of it, and this isn't helped by the fact the production values are so highly polished either. I'm in general agreement that technique allows you to move forward as a musician and express what you feel on an instrument with increased ease, but it's not the be all and end all.[/quote] I agreed.. I thought we were on the same page

[quote name='risingson' post='1317505' date='Jul 26 2011, 07:23 PM']Of course, but you don't need brilliant technical skills as a musician to get across your point. Just look at David Bowie. Good technique is enough. Brilliant technique is great but past a point it detracts the focus away from the music and all of a sudden what could have been a nice night at the theatre becomes a night at the circus.[/quote] Not quite, I never said all technique and no soul. If you have good technique it can help you achieve what you play from your heart with less effort. Most of the time the simple things are things that make a difference in music, just because you have been taught something complex, it doesn't mean you play exactly that, you interpet the technique for what you have learnt to play what comes from the heart. I'm self taught for serval years, then I got some technique down and I found the missing pieces to play the simple things well and to improvise better. On a gig, the theory, technique is almost forgotten and just play what feels good and sounds right, but the technique is what helped you get there. Also I think people think people like Bowie just play and then it's there.. they have 100's of ideas and use only one.. it's all really a form of technique trying to understand what works. but back to the OP.. answer.. the join is when some thinks it's good enough to listen.. and that is all relative

[quote name='risingson' post='1317361' date='Jul 26 2011, 05:27 PM']You don't need technique to be musically minded. John Lennon said "I'm an artist, and if you give me a tuba, I'll bring you something out of it".[/quote] but you'll be limited by your technical ability to play what you want at some point.. it's why we practice

depends. If you know it will be safe in the van during transit and at the festival then take the nice bass.. if you're unsure hardcase the wick [b]option 3 - borrow a friend's hardcase, or keep eyes peeled on ebay/gumtree/BC for a 2nd hand [/b]