Bilbo

There is a delay between study, absorbtion and integration of theory into your playing (some say six months but I guess it depends on various factors). If you study something today and incorporate it into your Jazz playing tonight, the chances are it will stick out like a sore thumb and sound contrived. Don't be frustrated, be patient. Keep learning and it will come.

It all adds to the mojo, if you ask me. I am not at all put off by dings and dents, as long as the integrity of the instrument is not compromised. Cosmetic damage is just that, cosmetic, and I don't feel that in any way detracts from the instrument's value. I guess some do.

3/4 is the default size for most musicians nowadays - you rarely see a full-size bass outside of an orchestra and they present real difficulties for jazz players in terms of accessing the full range of the instrument. Personally, I always argue aginst EUBs as they are rarely a satisfactory substitute for the 'real' thing (most just sound like vertical fretless basses). You will get a credible starter double bass for your budget at either Thomann or Gedo Musik but the generally held belief is that you need to hold back about £300 for a specialist set-up, a new bridge, new set of strings etc so think £1200 for a bass and £300 for the work. Scour the Double Bass forums here; they are packed with advice. If you read like you do, you have a head start on most.

No surprise, there. The Fishman is a pre-amp and should come between your bass pick-up and your amp. It is not an 'effect' per se and would not really be doing its job on an effects loop. Your amp should be fine.

Don't think so

Will look next time I can get to it. Thanks for the steer!

Edirol UA-20 audio capture thingumma jiggy.

What's an o/p, bro?

I didn't pay that much (about half) but I did learn a lot. Not sure if I would pay £200+. It Is modular and each module has assessed projects.I did enjoy it.

Love it.

Could be either. What would the solution be?

I have had a problem with my recording set up for years and today had an epiphany in terms of troubleshooting the issue. I have, since I can remember, been hearing a little buzzing hum when I record which I have never been able to locate and address. Tonight, with new leads, new mics, nee everything realised that, if I hook everything up to the computer via mic/lead/pre-amp/lead/audio interface/pc, it is silent as the grave and the signal is good and solid. As soon as I open the Cubase SX software, there is the hum. Can anyone shed any light on what this may be? It appears whether you are recording or not. Do I need new recording software or will that make no difference?

If you can read eighth notes, you can read sixteenths. They are the same only quicker!! Half a bar of sixteenths is EXACTLY the same rhythmically as a full bar of eighths. You just have to learn to 'see' it quicker. It is only about practicing a little more to get to that next level.

Practice reading music - reading rhythms is easy without an instrument, reading notes accurately a little harder but you can try singing them quietly to yourself. A great skill to develop but years to really master. Learning chord sequences to standards is another 'silent' option.

[quote name='TheRev' timestamp='1393427710' post='2380166'] Some people like that sort of thing.... My 50s ply hasn't cost me any money since I had the soundpost glued in. [/quote] Is it still in the box?

You are over complicating things. Just take a bass and play it. No-one at these dos actually gives a s*** and will be grateful that you turn up and they don't have to listen to Jacki Two Thumbs doing Mustang Sally again.

Yes, of course, but whether it is or is not a nice tune is subjective and therefore the OP wnats to understand what influences that subjectivity. Otherwsie, we are just passive consumers and will take whatever old s***e is thrown at us.

Voted.

Beautiful? It's a pain inducing money pit

Apparently, he died of a heart attack whilst playing with his kids on a beach in Mexico. I guess, if you are going to go, that may be the best way http://en.wikipedia.org/wiki/Paco_de_lucia

[quote name='thisnameistaken' timestamp='1393272133' post='2378149'] No beard, no Bilbo. Don't send any more pictures of your dep, whoever the hell he is. [/quote] That went over 4 years ago, mate. Where have you been?

Why wouldn't you prefer the piano? It is all there. I can't play it but wish I could (clearly not enought oactually TRY!!)! I have one but never got passed a few basic exercises and some chords. In short, I am a s***load better as a bass player than I am at anything esle so that is where my efforts went.

Nothing is universally adored and everything is cool only to a minority (a full stadium fourteen nights in a row is still a minority, when you think about it as a percentage of the listening population). It is just a case of whether that minority is large enough or sufficiently vocal to create the illusion of universality. Ethnomusicologically speaking (say that with a mouthful of Rolos), music has a role in people's lives that is defined by them and their circumstances. For those who 'connect' with Springsteen, or The Grateful Dead, or Phish, or The Enid it can simply be about 'belonging to something'. The music arguably matters less that the baggage that goes with it. In my experience, most widely available music has some merit if you listen to it enough (I quite like the Dixie Chicks, the Stranglers, the Cure etc - I just don't prefer them to the things I REALLY like). I think Springsteen has done some nice stuff, the Ramones I don't like (never 'got' Punk, really - the Stranglers are just a Prog band with swearing). The Stones and Floyd do nothing for me. The Beatles are ok and there are some gems in their catalogue but I have no urge to listen to them and I never got the John Lennon thing at all etc. I occasionally listen to albums listed amongst the 1001 albums you 'must listen to before you die' and mostly find them uninspiring. There is no homogeneity; we all like what we like and can't 'get' everything. It is the nature of the medum. Sometimes it is about what grabs you at a certain point in your life. Marilyn Manson grabbed a certain demographic but most of those kids will 'grow out of their angst' (if they haven't shot up their university and then turned the gun on themselves - :yarrr:). Most of us have a nostalgic soft spot for the bands we loved as teenagers but it all moves on and we change. Hence, those who loved the Ramones in the 70s would not love the Ramones in 2014 just as those who liked Prog the first time around may not be grabbed by Spock's Beard - because they are 50 not 15. I saw Uli Jon Roth and Michael Schenker recently (separate gigs) and was amused by the hundreds (not thousands as it used to be) of denim and leather clad 'dinosaurs' in attendance - those that had hair were grey It really is horses for courses.

It is a case of understanding the process of reading music but in reverse. You know what it sounds like so, by default, you should know what it would look like on papaer. The only thing you need to do over and above the reading part is to be able to recognise intervals by ear and to relate them to theory. If, for instance, your line says root to b7, you need to decide what key you are in to identify the root and what the flat seventh note is (C - Bb, F - Eb etc). It is all about ear-training. It isn't easy but it does get easier the more you do it.

The Rode is being looked at as we speak!! By a genius electronics expert friend of mine (previously fixed amps etc for me)