paul_c2

I have an old Antoria Jazz bass, which is kinda showing its age. People might not know, but its fitted with 2x humbuckers in the usual (Jazz) locations. A while ago (like.....30 years ago) the bridge pickup failed, so it was replaced with a J pickup, and it kinda sounds good with that unusual combination. But recently, I've noticed there's quite a bit of noise from the guitar, its not the leads, amp, pedals, pedal power supply etc since I've tested and eliminated all that and its the guitar itself. Now, humbuckers are supposed to be noice-cancelling, and J pickups when both together do a similar thing....but mine doesn't. In addition, a few screws have snapped, including one of the pickup height adjustment screws; and the J pickup is installed directly onto the body ie can't be adjusted in height. And there's various buzzes and dead spots, and certain notes or open strings sound out of place compared to the rest. Its served me well, but I think its due for either a major refurb or more. Also bits fell off the bridge a while ago, and mix & match screws have been used to replace some of the bits that fell off. And I'm convinced the neck is slightly banana shaped too. So, I could get it properly looked at, possibly the pickup(s) replaced, but it will cost a bit, and some of the issues might not be 100% solvable. It still basically works and makes a nice sound though, as is, just with "quirks". I looked at a replacement bass a few months back and after trying a few Musicmans and 5 strings, I decided I didn't really need a 5 string....then I looked at Precisions....then Jazzes....then I concluded that if I bought another, it would be quite close to what I already have, so it wasn't really worth buying another for the sake of it. But time's moved on and the noise issue is becoming more and more of an issue. Also, every time I pick up and play either a Fender/Squier Jazz or Precision, I can sense the quirks not there, the consistency of tone and they seem more "comfortable/playable" if that makes any sense. So I was thinking of.....a Squier Precision with PJ configured pickups, or another (probably Squier) Jazz bass. In an ideal world a cheap Mexican Fender Jazz bass will be out there, but I've looked and looked and not found one yet. Squier Vintage Modified seem ideal (and I much prefer rosewood neck too) but I've seen a Precision PJ which I guess must be a Standard or Affinity? Are these a definite step below VM for quality, longevity etc??? I know....I guess I should actually try them out, including taking my existing bass and playing them back-to-back, but I wanted to listen to opinions first, from here. And yes there's tons of reviews and comparisons (and no doubt an amount of debate on Precision vs Jazz!!) but specifically I'm comparing a PJ pickup Precision with a "standard" Jazz here. I like the tone of a Precision but prefer (its a slight preference) the Jazz, does that exist with the PJ configuration or must it be Jazz all the way? Also (I am not sure of this) is a Jazz bass body contoured where a Precision isn't and is more slab-shaped? I seem to remember seeing the PJ Precision with contours, but other Precisions without?

[quote name='danonearth' timestamp='1496371426' post='3310883'] [color=#191919][font=Verdana, Arial, sans-serif][size=4]-----------2-4-5- -----2-3-5------- -3-5------------- ................... ---------------4-5- --------3-5-7----- -3-5-7------------[/size][/font][/color] [/quote] Slightly-off-topic: its great to be able to play the same thing in different places on the neck, your major scale example has a third variation: [color=#191919][font=Verdana, Arial, sans-serif][size=4]-------------1-2[/size][/font][/color][b][color=#191919][font=Verdana, Arial, sans-serif][size=4]-[/size][/font][/color][/b] [color=#191919][font=Verdana, Arial, sans-serif][size=4]---------2-4----- ---2-4-5-------- -5--------------[color=#191919][font=Verdana, Arial, sans-serif][size=4]-[/size][/font][/color][/size][/font][/color] [color=#191919][font=Verdana, Arial, sans-serif][size=4][color=#191919][font=Verdana, Arial, sans-serif][size=4]Note that unlike your first example, you need to shift* to play this. (Your second example also includes 2 shifts).[/size][/font][/color][/size][/font][/color] [color=#191919][font=Verdana, Arial, sans-serif][size=4][color=#191919][font=Verdana, Arial, sans-serif][size=4]* A shift is a departure from one-finger-per-fret. Obviously, high up the neck you can stretch further than one-finger-per-fret, but at the "normal" end its "normal" to play one per fret. I learned ages ago and use it right down to the 1st fret, but more modern/better technique, and similar to double bass, is to use 1-2-4 fingering for 1-2-3 frets at the lower end of the fretboard/fingerboard.[/size][/font][/color][/size][/font][/color] [color=#191919][font=Verdana, Arial, sans-serif][size=4][color=#191919][font=Verdana, Arial, sans-serif][size=4]In fact depending on the actual music (not just playing scales....) you could use the fingering 4-1-2-4-1-4-1-2 so the shift is done by realigning the fingering with different frets, to allow the next note to be more easily played. Its good to be aware of when you shift (or not) because in quiet bits on roundwound strings it can produce a scratchy noise as you shift. Obviously music with stacatto, or rests in between notes, etc you can lift the fingers off to shift so it becomes less/not an issue.[/size][/font][/color][/size][/font][/color] [color=#191919][font=Verdana, Arial, sans-serif][size=4][color=#191919][font=Verdana, Arial, sans-serif][size=4]But anyway, returning to the question, if you analyse what finger plays what note on what string to the nth degree, you'll see that using the pinky is fundamental with a lot of the variations, thus (for me) its a thing I'd do all the time and I'd not particularly avoid it - I'd probably avoid shifts more; or stretching too far; or playing too low down the fretboard for comfort. [/size][/font][/color][/size][/font][/color]

There's 15 keys because there's (in diatonic stuff and related) 7 notes in a scale, so the range of possible keys can be 1-7 sharps (7 of these), 1-7 flats (7 of these) and the one with no sharps or flats. 7+7+1 = 15. The reason you don't see music with more than 7 sharps or flats in the key signature is convention - by convention, keys can only contain up to 7 sharps/flats, thus don't need to use double sharps or flats. BUT certainly music can be in a "key" with double sharps or flats if it modulates from one key to another. For example, a piece in Gb (6 flats) modulates to the fourth (Cb), then again to the fourth (Fb, which includes Bbb), then Bbb (which includes Ebb), etc etc without changing the key signature but by using accidentals. I would expect a piece that changes key and key signature, such that it might end up with >7 sharps/flats, to go from eg having lots of flats, to having lots of sharps (or vice versa). For example a major-minor modulation might take you from Db major (5 flats) to C# minor (4 sharps).

[quote name='ambient' timestamp='1490286671' post='3263980'] With regard to the "only 3 or 4 keys" part of your post. It might be an idea to brush up on what accidental are in each key, and just remember them. That way if you're playing something in say E major, just knowing that each C, D, F and G are all sharp helps loads. [/quote] If anything, learn the circle of fifths - and how to apply it to 1) knowing the order of sharps and flats 2) knowing what sharps/flats are in what key. Of course, the circle of fifths will help with many other aspects of music (theory) too, so its something worth learning by rote once, then being able to apply it in various situations.

I don't know any couriers who insure/cover musical instruments. I think all of the regular ones don't cover it. When I sent a French Horn through the post, it was well wrapped (including in a semi-hard case) and after fruitlessly searching for an insured courier, I simply selected the cheapest one, didn't buy the insurance and crossed my fingers. It was worth approx £650 and it arrived fine. On another occasion, I've driven to-from the seller, it was approx the same cost as 2x couriers (I was part exchanging a horn) and it also gave me a chance to look at it. When I looked at prices for hiring double basses, I think I came across a company that basically delivered the instruments themselves - they had a suitable van. I am sure there's specialists out there which shift pianos and have a good reputation (and know what they're doing), maybe something like this exists?

Playing (and reading music on) fretless is no harder than playing on double bass/cello/viola/violin/trombone/french horn etc, but obviously a step harder than fretted bass. So its worthwhile taking a logical approach to it, for example take a leaf out of double bassists study material and read up on what "1st position" and "2nd position" is, then find some music which is graded to only use (eg) 1st position, then slightly more difficult, then the half positions etc. Break it up too, approach "shifting" as a separate skill to learn. If you perceive yourself as slipping in intonation as a piece goes on, how are you determining this? If you're playing along with others then its simply down to listening to both yourself and the others while playing. If its based on seeing your hand move up and up, then don't be afraid to add tape to the neck, or dots, or whatever to help with getting a solid and consistently accurate hand/finger position.

Found one, took ages!!! In number 1 above, the note is tied apparently to thin air. Its double bass notation (or other bowed string instruments) when playing pizzicato, and means "let the note ring on, don't dampen it". The idea being that the pizzicato sound doesn't sustain in the same way as a bowed note, so it can be left to ring out - obviously on a violin, it doesn't ring much at all; on a double bass it will ring on a bit. So if/when interpreting it on bass guitar, DON'T let it sustain for ever! But be aware of it. (For info, example 2 above is snap pizzicato technique).

[quote name='Higgie' timestamp='1487368993' post='3239427'] I've always interpreted it as somewhere between staccato and full value. You can usually 'feel' where the note should end, to give the next note it's full attack. [/quote] [quote name='scalpy' timestamp='1487372714' post='3239453'] Oo, Priscilla, I've got that show in October, is it any good? Just had the roasting of legally blonde and want every show to be as much of a challenge! Slightly detached means there needs to be a fraction of silence inveteeen the notes. A slight lift of the fretting hand usually creates the desired effect. [/quote] [quote name='The Jaywalker' timestamp='1488108775' post='3245831'] Staccato means that the the note is played short/clipped; the general idea being that its rhythmic value is halved. Detached doesn't mean staccato - that confusion arises because "staccato" is Italian for "detached". HOWEVER, the English performance instruction "detached" simply means the notes sound separately. Imagine a bassine in quarter notes where the notes sustain into each other. Now think of slightly shorter notes where one note ends just before the next one begins. It's a feel thing. It's kind of in the cracks between shorter note value and a rest and playing the full note value. I guess it could be approximated by thinking about playing along with a rock drum pattern kick-snare-kick-kick-snare. Do you play staccato and only sound short notes along with the kick, legato by letting your notes sustain to the next or detached (kind of) by letting notes ring out but muting on the snare hit. [/quote] As above, basically. There's different "amounts" of detached-ness (if that's a word), and over time its been established in classical musical notation as different things. A basic starting point for interpretation is: stacatto (a dot over/under the note): play for 1/2 the time, silence the other half, to produce the detached effect. Detache (line and dot over/under note) play for 3/4 the time, silence for 1/4. Stacatissimo (I think...?), its like a little solid triangle (shaped like a guitar pick) over the note, is an even more detached interpretation eg play 1/4 the time, silence for 3/4 the time. Also worth mentioning is tenuto (line over the note) - play it full length, legato (a slur over different pitched notes), phrase mark (like a breath indication for wind instruments, its like an apostrophe). One weird one you might come across is a note tied to thin air - I'll try find an example.

Viola uses alto clef, which is similar but not the same. They are also expected to know/understand treble clef for the higher bits. Bassoon, trombone, cello and double bass (in an orchestra setting) would normally read bass clef but know tenor clef too. Cello also needs to know treble clef for very high stuff.

A few months ago I changed the strings, to 40-60-80-100. And they're great - in EADG tuning. However I'm finding that more and more of the pieces I'm being asked to play benefit from DADG tuning. And no, I don't want to buy a 5 string bass (well I do, but I don't want to spend money!!!) So I'm finding the .100 gauge 'E' string a bit floppy once its detuned down to D. So I'm thinking of swapping just that one for a slightly thicker - my question is, what's a decent gauge to use which won't be out of place when tuned EAGD, and will sound better in drop D tuning? I am thinking .105 or .110 but I don't want to buy both and then never use one of them (well....use it for 10 mins then find its not right etc) TIA

Sounds good....remember that unlike some other instruments, the bass guitar (and normal guitar) have no real issues playing in any key, because the fretboard is just a uniform bunch of notes....okay Eb and Bb are a little more awkward; and the ones with open strings are a bit easier. For example a pianist hates too many flats or sharps because of the black keys, and a clarinet doesn't like too many either due to needing to use keys instead of regular fingerholes. So, there only thing making playing in (for example) in D# minor more difficult, is your own brainpower. And....you get good at what you practice, so if you deliberately practice sight reading with many sharps or flats, it will eventually become just as approachable as C major.

You don't need a teacher, but it would help and might be quicker than battling to learn it yourself with forum help etc. Don't run before you can walk - try some pieces in the key of C to start with. Before you do so, familiarise yourself with the scale of C major, including the notes lower than C because they're bound to turn up!!) and find some music without accidentals in - you can worry about these later. www.sightreadingfactory.com is a good resource. Then find some stuff in the key of G; then F (ie 1 sharp, then 1 flat). Once again, start off by putting your hand in the position for that scale, then each note will already be underneath your fingers. Then progress to 2 sharps/flats, then 3 sharps/flats, etc etc Much later on, you can also do 4-7 sharps/flats, minor keys (which will probably use the harmonic or melodic minor scale - ie have accidentals) then pieces with other accidentals in chromatic runs or modulations or other notes not found in the original key etc. Also you'll come across pieces where its necessary to change position - there is a skill in itself in being able to sight read pieces where a positional change is needed, and knowing when to do it. There's normally at least 3 different ways a piece can be played, there's a skill in knowing/working out which one is better. But that's for much later on!!

You could write your entire example in tenor clef and it would be a bit neater, although you'd not be thanked for doing so because most people aren't that familiar with it. BUT if its for cello, then the better cello players WILL be familiar with it! "Nobody writes for tenor clef anymore" - is complete bollocks, by the way.

[quote name='BigRedX' timestamp='1482415099' post='3200343'] So how do you tell if a song is in C or A minor? And does it matter? [/quote] If you really are reading music, then it doesn't matter as you'll be playing what's written, irrespective of the key its in. Bass will (you'd hope) have a strong role in defining the harmony and be the lowest part, but its not universal. Plenty of other instruments would be playing other harmony parts and their notes would/could correspond with various middle notes of a chord, making it difficult to look at that part alone and suss out the underlying chord(s). Its handy to know the structure of a piece for page turns (ie if you miss it, you can keep going a bit) or for rests.

Where would you get the bridge from?

The key signature indicates which notes are sharp or flat, for example if the key sig is 1 sharp (which should be F#) then all notated Fs in the music, unless they have an accidental in front of them, should be played as F#. If you're reading bass lines then its perfectly possible that the bassline only uses a subset of the notes in the scale (so your question regarding "will the music use all the notes of the scale...." can't be answered yes).

Are the above solutions which cost money, doing anything better than you could do simply by adjusting the volume control knob on the louder bass?

You can learn how to be better at rhythm, so its not an issue (but at the same time you'd need to actually learn rhythm-related stuff, not just pass it by if you're self taught etc). I believe there's certain things which are much harder to learn than others. Playing in time is kinda middle-of-the-road. Perfect pitch, I believe is impossible to learn, if you don't have it naturally then you will never get completely there, although you can learn good relative pitch. Also (unrelated to bass guitar, but relevant in a wider sense) if you can't do the embrochure to certain wind instruments after a reasonable time trying, its possible that you're simply not physically able to play them properly, eg due to mouth shape, teeth, anatomy etc. All told, bass is pretty easy to get started on, although of course you can learn and improve to be a very good musician over time.

[quote name='lowdown' timestamp='1481379046' post='3191867'] Is that harder than the Pink Oboe? [/quote] Probably started on the pink oboe, but uses a stronger grip/different hand technique.

[quote name='chriswareham' timestamp='1481277328' post='3191106'] There are lots of listings on eBay selling new sousaphones made in India. They look great and are affordable ... but the intonation is almost invariably out and they're really nothing more than a display item rather than a usable instrument. Second hand sousaphones pop up occasionally, sometimes they're for very high fixed prices upwards of £800 but they don't end up selling. Then there are the few at affordable prices or auctions that sell in the £200 to £300 bracket. I missed out on one when was outbid with seconds to go :-( [/quote] [quote name='toneknob' timestamp='1481279495' post='3191116'] Good tip (to avoid that is). Free postage from India? Riiiiight. [/quote] There does seem to be a new trend to offer an even-lower-cost budget instrument such as brass instruments etc from India, which are basically copies of a well-established instrument design but done on a (very small corner-cutting) budget. Which is a shame in a way, but I guess it offers the chance for those who simply couldn't afford anything else, the chance. There's faults which become apparent pretty soon into playing/learning to play, which are probably going to be issues and don't encourage. Sousaphone is a bit of an american trend, it would be more sensible to probably take up something more normal in the UK, for example tuba, euphonium, baritone, trombone etc. This means that once a beginner has gained a little ability, they can join some kind of ensemble and get experience from that. But then it wouldn't be an unusual instrument!

[quote name='pete.young' timestamp='1481278485' post='3191114'] That's a shame, the American Old-Time band I play in doesn't have any guitars and is definitely acoustic, we frequently play gigs with no amplification or PA at all, even for vocals. I think the OP's instinct is right and that it's a bad idea from a marketing point of view to have 'Acoustic' in the name of the band. [/quote] What's the instrumentataion? "Band" could be interpreted in a wider context (like, a concert band or a big band) or a narrower context which assumes drums/bass/guitar(s) and maybe others like keys/piano, maybe extras like sax/trumpet/trombone etc etc I don't think you'd label a symphony orchestra as "acoustic band", for example (taking an extreme example). And I suspect many jazz ensembles don't use the label "acoustic band" even if they are all playing acoustic versions of their instruments.

[quote name='Conan' timestamp='1481206456' post='3190538'] Hmmmm. [i][b]Some[/b][/i] of them did... [/quote] Only the ones with ears like a gizmo didn't.

Acoustic guitar(s) --> Acoustic band. About 10 minutes after the first acoustic bass guitar prototype was manufactured and tried out, boffins in white coats conceded that it was perfectly allowable to have an electric bass in an otherwise acoustic band.

[quote name='Barking Spiders' timestamp='1481198297' post='3190399'] yes but it doesn't get as many visitors as here [/quote] I don't visit any forums, I use "View New Content" so anything new, shows up.

Is it insured?