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paul_c2

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Everything posted by paul_c2

  1. paul_c2
    Possibly, but it might be true that most people who could read on ANY instrument, learnt on a previous instrument, if people typically learnt to read music on their first instrument then went on to play another. I think the majority of musicians I know can play, or did play in the past, another instrument. Piano seems a popular initial one. Unfortunately, the French Horn stuff is based on experience.......top tip, if you want to stay sane, DON'T try to learn the French Horn.
  2. paul_c2
    At least, on the scheme of things, bass sits in the "middle" of ease of playing vs ease of reading. For example: French Horn. Fiendishly hard to play well, yes you can make fart noises but anything musical needs years of dedication and hundreds of hours of practice. Even an apparently simple line as notated, is difficult to play. So the reading really is a bit of a non-issue here. Compare with piano. Dead easy to make a noise on, compared to the French horn. A cat, or 5 year old child, can play the lowest note and the highest note and all those in between. And a beginner will soon be learning both hands at once and chords etc etc etc. The notation is clearly more complex than the French Horn, for a start there's 2 clefs, 2 or more notes at once, etc etc. Fortunately, it is convention to learn to read music to play piano. Compare with electric guitar. Very little resources around to learn to read, very little standard notation music published, the same issues with polyphony as the piano (except, sensibly, it sticks to one clef and stave), it would be a nightmare to try learn to read on electric guitar. In fact most people don't, and I don't blame them! At least bass is somewhere in between the extremes presented.
  3. paul_c2
    If I were a teacher I'd teach reading music from the outset. Its a sensible way to allow for communication, which is pretty essential in being able to effectively teach someone. Of course, I'm not actually a teacher so I don't need to worry about how I would teach someone who could play bass but can't read music, how to do it - I imagine for some it would be a long process (and feel like not much progress, or point to it, or value for money). If you can work out a concise way to do it, good on you and best of luck! I think if I was a teacher I'd want some kind of agreement that I can direct the, ummmmmmm, musical direction such that I'd be able to insist on learning to read. Maybe short term I could do a bit whilst skirting around it, but eventually it would be a barrier, so I'd structure it to include that aspect. But since I'm not (a teacher), I don't need to worry about it! I can do it and get the benefit off it, I don't need to worry or convince others if they don't want to listen or don't agree with me.
  4. paul_c2
    Did it feel under-rehearsed or poorly prepared though, or was it more stressful because of the extra avoidable pressures etc? You need to enjoy it, irrespective of whether you're getting well paid or not.
  5. paul_c2
    Its just a tool; but its a valuable tool which I worked hard to save up for and afford; and not without an amount of effort to find one to my preferences. So it gets looked after.
  6. paul_c2
    The most tasteful way to highlight the bass in jazz is to ensure the drummer is still playing; and preferably a female singer is supplying devine vocals over the top too. That combination, IMHO, works really well. For example, the opening and closing sequence in "Fever".
  7. paul_c2
    We accept requests if they are detailed about 3 months in advance, and an arrangement (in sheet music) is available, and they pay whatever the cost of obtaining it extra. Plus a bit more. HTH
  8. paul_c2
    Only post to the registered address linked to the payment. If he wants it sent elsewhere, then ask him to update the address on the payment - it might be necessary to refund, then receive the payment again with the new address detailed on it.
  9. paul_c2
    2 if its an important gig (fretted and fretless), otherwise recently I've just taken the fretted. One can back up the other - I can play anything on both, if needs be. Also will either take 2nd amp or a DI box if there's a spare channel (or a channel can be made spare) on the PA.
  10. paul_c2
    It sounds sloppy, someone needs to grab the bull by the horns. Even if that is simply to pick up the phone and cancel the gig. Is there one clear leader? Or is it a joint thing? Because I'm sure some bands can work out with running as a joint effort with no one clear leader, but it sure sounds like this one can't. Gigs going crappy due to completely addressable issues beforehand just sucks.
  11. paul_c2
    Its like a car crash in slow motion. Please keep us updated.
  12. paul_c2
    My first ever amp, a Carlsbro 90, had a kettle lead. I remember, because I went to "band practice" once and forgot the power lead. So we borrowed the one off the kettle. The sister of the keyboard player came downstairs to make a cup of tea, we had to pause the rehearsal for 5 mins while the kettle boiled......
  13. paul_c2
    Did you have a gas-fired amplifier??????
  14. paul_c2
    You must be very young then, and only seen cordless kettles ie those with a base and a removable jug. There used to be another type of kettle where the jug was not cordless. Instead of being permanently wired to its lead, there was a separate lead with a connector technically known as IEC60320 variation C15 (on the lead)/C16 (on the appliance inlet). C15/C16 is the notched variation, for high temperature applications (.......such as a kettle), however the very similar looking one without the notch, C13/C14 (lead and inlet respectively) became widely, but technically incorrectly, known as a "kettle lead". AFAIK a C15 variation will normally go into the C14 inlet although it might be ever-so-slightly bigger, because the notch is designed to prevent a C13 lead (not high-temperature specification) going into a C16 inlet (ie appliance requiring high-temperature variation specification) so is keyed as such.
  15. paul_c2
    I imagine an experienced courier driver would have built up the ability to sign names in a number of distinctly different handwritings. They've probably forgotten how they do their own signature.
  16. paul_c2
    I don't think the OP needs to do anything/much more than quote the legislation he already knows about and mentioned in the original post.
  17. paul_c2
    Wasn't "Hit me with your rhythm stick" Grade 7 on one of the exam syllabuses, I think the Trinity one? And there's a whole bunch of Grade 8 tunes. And stuff harder than that, obviously, too, out there.
  18. paul_c2
    Yeah its a pretty simple decision, #1 for me.
  19. paul_c2

    Incoming!

    paul_c2 replied to stewblack's topic in Bass Guitars

    That's a surprise, from Squier. Normally I'd say they're reasonable quality and at least they'd screw on the parts in the right places. I'd have thought with any more than a hardful of guitars made, you'd have some kind of frame or jig to determine where to put them too.
  20. paul_c2
    No, if it was bought online. But if its simply unwanted, you are responsible for the return postage (and they can't impose conditions like to use a particular, expensive etc courier - it just needs to get there, so you can choose).
  21. paul_c2
    In my experience, they have a good idea of how many parcels any given van driver can deliver in a day, say its 40. Then they'll allocate 50 parcels/day to a driver and the pressure is on to get them done, so inevitably shortcuts are made, packages thrown into upstairs windows, left under the mat etc. I stayed in recently for some parcels and they don't hang around - it transpires my next door neighbour had also been online shopping and I had a package left at mine; another courier waited literally 4 seconds at the door before trying another house etc. Its the modern way, everyone shops online and high street stores are declining badly, so it seems...
  22. paul_c2
    With the right interface and software running on something not much more powerful than a Vic 20, it could probably deliver itself more efficiently.
  23. paul_c2
    That's one way of playing the notes. I am sure there's about 128 different ways to do it though - the notes of the arpeggio are all over the fretboard, so you could legitimately play it in loads of different positions. Whether there's one (or a subset) of right and wrong ways, not sure though. So it might be worth practising playing the same thing in the various different positions. I would probably go for the ones which minimise shifts.
  24. paul_c2
    Its probably also worth mentioning, its worth knowing (a variety of) them, so that you can relate what you play in songs/tunes. They come up again and again in tunes. As a starting point, in this order approx (IMHO of course): Major Minor Dominant 7th Minor 7th Major 7th Diminished* Half-diminished (7b5)* Augmented (M3, A5)* *These last 3 are not common.
  25. paul_c2
    Do you mean a 50/50 wet/dry blend sounds exactly the same to you as a 100% wet signal? Or that a Markbass can be internally changed so it has the same behaviour as other amps, in its send/return?
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