ZMech

good ol' PDEs. Have spent the whole of my day revising part of my Vibrations module (mechanical engineering). Thought I'd add something more visual to contribute. The impage below shows all the vibrations that are happening at once on a string, which occur with decreasing magnitude. The higher frequencies also decay faster, which is why a note will have an 'attack', this is the first instant before the highest mode shapes dissapear. The circle on the images at a node (non-moving) point is the same effect as lightly touching the string, and it's in this way that you get the harmonic when playing. p.s. I can go into the equations if you want, but I don't think any of us want that

some sweet images. I'm not sure whether the fact that I'm seeing those after a day spent revising vibration (one of my modules for engineering) makes me appreciate them more or less. Either way, got to love science put to good use!

hmm, maybe too subtle a joke. Either that or you've got a better guitarist than me!

[quote name='skidder652003' post='1248469' date='May 28 2011, 05:45 PM']Its just a personal bug bear of mine that i dont feel I can call myself a bass player untill I can do something on the bass that my guitarist cant! [/quote] Are you able to play in time?

[quote name='skidder652003' post='1246251' date='May 26 2011, 09:11 PM']I dont feel like i can call myself a bass player untill ive got some grounding in this particular discipline.[/quote] Good news, it's not he 80's

[quote name='markstuk' post='1247334' date='May 27 2011, 05:00 PM']OF course this opens the debate as to whether A Sharp and B flat are the same note :-)[/quote] Unless like you feel like owning a piano for each key, yes, they are skol, mark's referring to[url="http://en.wikipedia.org/wiki/Equal_temperament"] tempered [/url]Vs harmonic tuning systems.

I think there's also an element that it doesn't have to be strictly on that instrument/activity. Your practise in one area can often translate over to another. For example, whilst it seemed I never had to work as hard as most of my friends at maths, I've always enjoyed logic puzzles and games of a similar nature, for which the hours I spent playing probably carry over since they use a similar skill set.

[quote name='Conan' post='1246602' date='May 27 2011, 08:06 AM']Isn't it about time we had a few of the purists and pros jump in to tell us how wrong, misguided and subversive we are for playing for nothing or next to nothing? [/quote] Something something JAZZ something something CRETIN! Will that do?

[quote name='Jean-Luc Pickguard' post='1245111' date='May 26 2011, 05:51 AM']James Corden in something funny? I s'pose there's a first time for everything[/quote] Well he was in the original cast of The History Boys, which was a superb play. The film adaptation which he was also in was great too.

Might be worth checking whether the second 2x10 is really needed before buying the second. If you do get a second, check out [url="http://basschat.co.uk/index.php?showtopic=134304&hl=210+vertical"]the thread about the merits of stacking them so that the speakers are in a vertical line[/url], it's meant to be better (albeit more wobbly). I think the same theory goes for if it's just the one, ideally raised up on a crate

The early stuff of The Black Keys was just guitar and drums, and it worked perfectly well. For their last couple of albums they've had a studio bassist though, and the output is equally brilliant.

The tone on this into is what first turned me on to double bass:

If you don't like using a set of symbols to represent notes, you could aways use their frequency, in theory this would be the most logical, but bloody annoying method. Can anyone tell me off the top of their head the minor 7th of a 110Hz?

Touche redX. although I meant a short few bars like with this. Of course most punters will assume it's a distorted guitar

[quote name='Conan' post='1244022' date='May 25 2011, 11:01 AM']Sound-wise, they are also unlikely to notice you unless you sound particularly awful or are too loud.[/quote] all about the solo-bass riff intro! then they'll notice you

I think there's a bit of a diminishing returns thing. The difference between a £50 and £500 bass will be bigger than that between a £500 and £5000 bass. The more expensive ones will have better build quality, and ultimately sound that bit better, but it still comes down to how you EQ it. Think i'll stick to my one mid-range bass Of course, we'd all see a bigger improvement in our sound if we spent as much time practising as we do browsing the For Sale section

the Contrabass shop. Would buy me one super nice double bass, and they've got a crazy amount to choose from. Although think i'd save a bit for an amp to go with, for which I'd probably pop to the bass gallery. [url="http://www.contrabass.co.uk/home.htm"]http://www.contrabass.co.uk/home.htm[/url]

The only real difference between 3/4 and fullsize (from what I understand) is that a fullsize is that bit louder due to the extra resonating space, and the scales a couple inches longer. I guess it probably sounds a bit nicer too, but since you'll no doubt amplify yourself if playing with a full band regardless, there's no point putting yourself through the extra hassle of getting a fullsize, stick with the 3/4.

[quote name='JellyKnees' post='1243161' date='May 24 2011, 05:10 PM']a pretty good ear which I've developed over the last 30 years of playing[/quote] Here in is the difference. Learning something by analysing and understanding the rules, even if they're only a framework as with music, is normally much quicker than simply randomly experimenting with the options and slowly accomodating the rules into your intuition. After all, it's due to this point that teachers exist. I also disagree with the context thing, there's no reason you can't use more interesting chords/harmony in rock, many of the great bands did, and that's what helped make them great!

To the OP, just think of each cab as a resistor, and think back to your physics lessons. If adding two resistors in parralel, you use the equation 1/Rtotal = 1/R1 + 1/R2. So in this case, combining a 4ohm and 8ohm cab in parralel gives a total resistance of 2.7ohms. Then the equation P = I x R^2 tells you that having lower makes the current higher for the equivalent power, which is presumably bad for the amp. For two 8ohms in parallel this gives 4ohms, your minimum value putting them in series would add the resistances normally (Rtotal = R1 + R2) but for some reason this isn't common when combining cabs, possibly due to some quirk of AC and phase changes. p.s. think I'll stick to my 1x12"

[quote name='stingrayPete1977' post='1242435' date='May 23 2011, 11:08 PM']So what has the poll proved so far? The theory one I think is about as expected although I think the "I have an excellent command of theory but rarely need to use it" camp should probably be "I have an excellent command of theory but rarely realise I'm using it anymore" [/quote] Surely this is to be expected. I would've that that it's a sign you've learnt the theory well when you no longer have to consciously think about it. My aim for the summer is to at least take my first step in this direction.

I think you're underestimating the time each tube journey takes. If you're staying in shephards bush, I wouldn't recommend holborn as a stop off. This is as you want to get either the jubilee (grey) or metropolitan (purple) line to wembley park. Shepherds bush to holborn would be around 20mins+walking each end. Holborn to wembley then means gong back to bond street first then changing lines. Instead I'd suggest bond street is your easiest midpoint as it's on both the central and jubilee lines, so no unneeded travel, meaning more beer and chow time. Bond street to wembley park will take your at least 30 mins of time sitting in the train, i don't know how long the walks through the stations are (can add a few minutes each end sometimes). timeout will often find you a good place to eat, or maybe someone on here will know of one. p.s. I'd agree with visiting the Bass Gallery, my favourite shop in the world!

can I tick the non-existent option of 'I'm happy with the bass(es) I have, so don't visit that section.' living off a student loan is a good cure for GAS.

To the OP, it might be worth getting yourself a real book, so you can familiarise yourself with playing over some of the songs you like. An exercise I found helpful was to pick a song and stick the track on, and to play the arpeggio (incl the 7th) of each chord over it in time. Once that gets easy, try changing the order your playing the arpeggio, so from 1-3-5-7 to 1-7-3-5. [quote name='algmusic' post='1241290' date='May 23 2011, 10:35 AM']I think its's shame there are not more jams that will play anything from rock, to pop, to blues to jazz with just good music, no ego, inlsive and fun..[/quote] I think the issue here is that jazz is all about improvising over a loose structure, which lends itself perfectly to jamming. I guess you could transfer this equation of the main melody followed by a solo loop over to rock tunes, so long as your musicians are happy either to sightread or know the songs already. In fact, at the uni jam night I help run we've been adding more popular songs into our pads, such as Little Wing, which have worked well. Think I might try and transcribe some more over the summer, perhaps some motown I've been to a funk jam where it was just the keys player occasionally shouting out a chord change, which was fun for a tune but I feel you need some sort of scaffold to play over to make it more interesting to listen to.

Was on the middle of both scales, but am gonna try and tackle that this summer. Have stolen my dad's old keyboard and a load of books, which should hopefully improve both my reading and theory! I don't[b] need[/b] to read, closest I get is reading the chord sheets, but it would mean I better know the melody that I'm playing under so I can compliment it better.