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[quote name='BigBeefChief' post='154568' date='Mar 10 2008, 02:36 PM']I know I've been on this f*cking thread too long when I find myself agreeing 100% with Bilbo! Well put mate.[/quote] BBC and Bilbo, sitting in a tree, J A Z Z I N G

[quote name='BigBeefChief' post='154549' date='Mar 10 2008, 02:23 PM']Goin back to the painting analogy, I agree that practice improves your bility to make marks on a canvas. You can practice painting in all styles and become very accomplished. You could also develop some pretty firm ideas as to how to paint in a certain style. What would happen if someone who had never painted before picked up a brush and started slapping paint around? It would not be as good technically, but it may be just as creative. It would certainly be different and less likely to conform to any known styles. Hell, it could even be more creative than the pro's picture![/quote] Yeh, exactly. I fail to see how studying Pablo Picasso, or Vincent Van Gogh would have helped Tracy Emin f*ck up her bedroom. Not that i'm a fan of her work, it's just I think there is a valid point here. I personally did spend a lot of time learning all the theory I could stomache. I've forgotten it all now, but my hands still remember. I suppose if this is what everyone's going for, then fine, but I really doubt whether players that practice 10 hours a day until they can play faster than they will ever need to will ever be able to forget their theory. I find it hard enough to play something unconventional, and this frustrates me. I suppose i'm one example of a player sufferring the detriment of learning theory as it has deffinitely limited my creativity in the past. I'm my no means a technical/fast player though. EDIT: Wow, we're replying fast on this thread!! I just wanted to say that I don't think this is subjective. I think we can probably generalise and say that if you want to create music that sound original, or is unconventional, then learning music theory and complicated/fast techniques can be detrimental to the creativity required. Obviously, if you're the fastest most brilliant bassist in the land, you can play anything. Whether or not you could have written it........

[quote name='finnbass' post='153478' date='Mar 8 2008, 03:28 AM']You simply cannot keep replacing a full stop with the acronym 'lol'.[/quote] This gets on my tits, but I thought it was bad form to point it out. lol lol lol lol lol lol lol lol lol lol lol lol lol lol lol lol lol lol lol lol lol lol

[quote name='queenofthedepths' post='154528' date='Mar 10 2008, 01:58 PM']Not read the whole thread then? [/quote] I did read the whole thread. BBC was talking about creativity, so he was basically making the a similar point to the one i've just made: "Also, I think that being highly conscious (which is different to having the knowledge) of music theory/standard practices etc, can mean that you often forget that you can play whatever you want - the notes you play don't have to conform to any scale or key or mode or whatever." I can't speak for tBBC but I guess he's refferring to writing, gigging musicians whose songs and stage persona he loves, rather than saying "I actually think that technical ability may hinder bass playing" he said "I actually think that technical ability may hinder creativity", which makes a lot of sense to me, and doesn't contradict what i've said.

IMHO you don't want a subtle phaser 'cos you'll never hear it on stage. I would also recommending combining the phaser with a little overdrive. I have no experience of the pedals you're looking at though!

I don't think anyone has suggested that practicing more will make you a worse player, or that complicated/fast techniques will detract from your abilities. That's obviously ludicrous. What is slightly more sensible, is to suggest that practicing the same things over and over so that you can do them at full speed can create a certain repetetiveness of style. For example, when I find something I want to play but can't quite do it, I will play that over and over again until I can play it. From then on, for the next week or so, I find this technique, or shape, or specific run or widdle creeps into my playing to such an extent that it gets a bit repetetive. My guitarist spent 6 months learning a nuno solo, and now that 1 shape/run tends to appear in a lot of his solos (obviously in different keys etc). Has anyone else experienced this? Also, I think that being highly conscious (which is different to having the knowledge) of music theory/standard practices etc, can mean that you often forget that you can play whatever you want - the notes you play don't have to conform to any scale or key or mode or whatever.

[quote name='Machines' post='154333' date='Mar 10 2008, 06:49 AM']Sheesh you people are SO impatient. I will do the draw tonight.[/quote] It's exciting!!!!

This is a great thread, with lots of good ideas so ta for that! I don't think anyone has mentioned radio. Local radio stations will announce your gig if you ask them, and if they have a rock show they could well do an interview or session as well, and this could help get people in. I have very little to add to this. Sadly, we're one of the many bands without a following. Reading this thread I found it strange that "obviously you'll still need 50 mates there" and "make sure your 75 mates only come to the most important gigs" seems to be common place. Now, I know i'm not the most popular guy in the world, but I did think I had a few good mates. How the hell do you guys get 50 or 75 friends to turn up to a gig?!? We do well if we get 25 mates to turn up!! Maybe our mates just don't like the band, but, they're still mates, and you think they'd turn up for the few important gigs we beg them to. I should get some more friends!

I had guitar lessons, but i've never learned any bass techniques from anything other than myself, and watching some live bassists. I'm sure my technique is technically crap, but I only have a desire to improve it when i've written something that challenges me. It's my/my band's writing that improves my playing ability, because I know what I want to play, and sometimes I can't play it. This will drive me to practice for hours on end, but I can honestly say I could never spend 10 hours playing the bass. Guit*r maybe....... I suppose these sorts of techniques and lessons etc are more for the type of person who wants to be as good as they possible can at playing their instrument, like classical musicians etc? I'm just happy being able to play what I feel I need to play. I know it's a bit late in the day, but I've read through all of this thread and I can't believe some of the posts. The only person who has been personally insulted is BBC, which is just as well 'cos no-one else can take it. I thought Janek made quite a bit of sense with his posts, but kept saying that the OP was missing the point of his article - the OP was about one small specific bit of his article which is obviously not going to have much to do with the main point of the thing. Questioning the honesty of an article writer is always fair, and when Janek replied, he didn't seem so certain and specific about his 10 hour claim, not that it bothers me either way. I've never seen Janek around here before so I don't know how it's possible to miss him?!

I would swap the comp and OD at the end of tayste's list so that your playing dynamics will still effect the OD. A blender could be useful if you're missing some low end and/or punch. I like my barge concepts blender, but i'm sure they're all similar.

bassballs, digital "step" phaser, digital delay, Digitech Whammy, put a wah in the mix somewhere...... I would get the pedals you need anyway, and then put them all in your feedback loop and have a play.

I've been gigging with a large board (20+ pedals) for the past 4 years. I have to say i've never had any of these problems. I use blending and.... well, lot's of stuff to keep my low end, or boost it, or cut it when I like. Basically, it came from wanting a big live sound with only one guitarist, and I think it works really well. At first, I was ok with a couple of distortions and a blender, but then I started mixing our CDs and realise how much I really wanted to do with my bass sound. When i'm mixing, I like to boost the low end for choruses and heavy riffs etc, so I bought an EQ pedal to do this. That's just one example of a practical use for pedals that has nothing to do with novelty. I guess if I was in a band with two guitarists then I could cut it down to a limiter, a blender, an overdrive, and two EQs, but that's the bare minimum. I suppose some people have these facilities built into their amps? Oh, also, I am using a guitar amp for everything above about 800Hz. Maybe this helps?

[quote name='Machines' post='153177' date='Mar 7 2008, 03:58 PM']It would take me forever to reply to every entry... However I do have yours .[/quote] I would have thought that you had everyone's e-mail address in one data file/folder and so replying to everyone would be a one click thing? Anyway, thanks for checking, it's most appreciated. tBBC - If your input gets any more intellectual i'll have to take an OU philosophy course just to keep up!

yeh is there any way of sending out a confirmation to every entry so far? I entered but i'm always having e-mail problems so maybe you haven't received it.

There's already a "stage lighting" section. Can you add it into there?

I'm no expert, but maybe this would work?

Great review, great English - Thanks! If the box is half empty, and you want two settings, why not buy another and build it into the same box? Then you'd have 1, 2, or 1+2 settings.

I can help i'm sure! I find the zoom really easy to use. I haven't bothered with the manual. Basically I use the left hand knob to scroll through different settings, and use the other three knobs to mess with these settings. The last position on the left hand knob is the control setting, which is useful for the expression pedal etc. If you can just find an hour to sit and play with it through your rig or headphones, you should be able to come up with some decent patches. I reckon the harmony settings will be in the "synth" section, but i'm not sure. If you just mess about with it, you'll learn more than just copying someone's settings.

I think you can only find out the address of the mail server the e-mail was forwarded through. You can find this in the header. If you're using outlook, right click on the e-mail and press options to view the header. I could be wrong about that, but I don't think you'll get an ip address just from an e-mail.

I really would just read the manual and play around with it. I found that the presets weren't that useful for me, so I just made my own patches. I'm not sure if it does much harmonizing, I have a digitech whammy at the start of my chain for that.

The arrows don't mean "rely" they mean "look down on" which puts us in equal place with drummers, each having 4 kinds of musicians who look down on us.

Heh, my choice of one pedal would be a B2.1U - Then you can make every tone, save them, and switch between them! As far as how to get different specific "classic" tones, i'm not much use 'cos I wouldn't really know what kind of sounds you're reffering to sorry.

I do parrallel compression all the time! It's an integral part of my sound but I've never heard it's name before.

Satchmos is cool, but no-one goes there and they're really disorganised recently. Fat Cats is really cool, it's a small room but I like that kind of venue. I'm not sure what the name of the road it's on is. I thought it was Etruria Road? My set up is a peavey combo and a johnson guitar combo bi-amped, with about 24 pedals. I can guarantee we're more entertaining than Rambo. If it was Die Hard....... We're probably going on stage between 9.30 and 10.

We're playing at Fat Cats bar in Hanley Stoke-on-Trent tonight. It would be cool to see anyone there! It might be our last gig for a while. www.no-logo.co.uk cheers. EDIT: I just got a txt that this gig's cancelled. Buggery!!!