ambient

[quote name='Evil Undead' timestamp='1397590718' post='2425516'] Cool as I said, I know bugger all about this stuff so just thought it might be a potential. Glad it's not though, more of a case for a refund. [/quote] I had to use google and I emailed Markbass before I bought it, I didn't know either to be honest . Hopefully it'll be a refund, I guess I'll just be out of pocket on the return postage.

[quote name='Evil Undead' timestamp='1397588619' post='2425494'] Markbass amps are only meant to be played in the country they're sold in/from. Maybe that's the problem. I can't say I know too much about this stuff though [/quote] I think EU voltage is the same all across.

I only received it last Thursday, and now it's gone wrong, very disappointing. It distorts when you play through it. I thought at first it was the battery in my bass, but I've changed that and tried a different bass too. It was bought from an Italian shop on Ebay, I've raised a dispute so I'll hopefully get my money back. I need something else now.

The piece is about 70 minutes long, it'd be tough to memorise that. .

[quote name='BigRedX' timestamp='1397560727' post='2425097'] Surely this is why you read music? So you can count the blank bars and beats on your score until the part you need to play comes in? [/quote] Yes, but it really takes absolute concentration and confidence, was that 77 bars or 78, so this 79 and I come in on the next one. When there's a lot going on it's really hard. It's not like there's drums, vocals and guitar playing and you think, right I come in after the next chorus.

[quote name='dannybuoy' timestamp='1397510425' post='2424728'] Can it be set to filter out the low end from the wet signal? Usually reverb on bass gets far too muddy otherwise. [/quote] I'm not sure. So far I've just plugged it in, set it to 'church' and played through it, I have tweaked anything. This is far from muddy though, my Modulus with flats just sounds amazing. I'll do some recording tomorrow morning with it.

Wow, what an experience. I've been playing through a lot of classical cello scores recently to improve my sight-reading and the general nuances of my playing. They are hard ! So much information in them, and so much silence too I really admire you for having played one with an orchestra. Did you find it awkward intonation wise ? I played a theatre show a few years ago with a cellist. She was used to playing with other cellists and gauging her intonation from them. Laurence is a visiting tutor at my college, and an amazing player. Anyway, I just ordered the original album from amazon.

I bought one a few weeks ago, got a great deal from Dolphin music, just £109 including next day postage. Anyway, today's the first time I've had to plug it in and play with it. I'm totally awestruck by it.

Would it be down to the owners of the site if someone did advertise a fake bass ? I doubt it, it'd be the responsibility of the seller. That's why Ebay and Gumtree and Talkbass allow the genuine basses to be advertised. If anyone tries to pass off a fake as a real one then that's fraud, regardless of anything else like copyright. It's like people sell vintage Fender basses on here, you only have the word of the seller that it is indeed a genuine one. Fakes are soon spotted.

No ones answered my question yet, how come Talkbass allows sales of Rickenbacker basses ? And how do they vet (if they even do) whether a bass is the genuine article ?

Silly question, possibly already been answered somewhere, but I really don't have time to read all through this thread. How come they're able to sell said product on Talkbass ? Surely the chances of any legal action being taken by a US company against a UK based website is pretty low, so why is Talkbass allowed to advertise Ric's for sale ? Personally I think they're extremely ugly and very dated looking basses anyway .

[quote name='lowdown' timestamp='1397145457' post='2421162'] No experience with the Hollywood library, but from what I have heard, it does sound convincing. I went for Symphobia 1 and Symphobia 2 (there was a big discount a couple of years back). This particular library is great for the big Symphonic/Cinematic sound. Legato is also very well catered for. There is also Plenty of very useful keystroke articulations, and some very nice section layerings. Plus a selection of bonus material, like clusters, risers, rips, big hits and extended slurs etc. However I have just started investing in The Spitfire Audio libraries, mixing and matching sections. Well worth checking out and seems to be popping up on a lot of TV drama/games and small film. The sounds are more intimate than the other major libraries (although they have now released Mural, which is Aimed at more Symphonic textures). Check out their website for demo scores (impressive). I am not sure what the score is with educational discount. [url="https://www.spitfireaudio.com"]https://www.spitfireaudio.com[/url] [url="https://www.spitfireaudio.com/browse-all-2d"]https://www.spitfire...m/browse-all-2d[/url] [/quote] 30% discount, just about to buy Albion II .

Needs to be at least 60cm high, and sturdy. To support my MacBook, most seem to have lips all around, meaning you can't plug stuff into them, others are too low.

[quote name='Annoying Twit' timestamp='1396964110' post='2419169'] My long term aim is improvised music. I definitely don't want to be limited to 'the box' of a single scale. I use notes outside the box, but am still working on being able to fluidly change box at musically appropriate times, particularly if I can do this without using the root note of the new scale/box as a pivot. However, I don't think I need to know key signatures for this, as I rarely read music, and don't have to sight read. But, if anyone wants to argue that I should prioritise key signatures, I will read what they write and seriously consider it. [/quote] I don't think you necessarily need to be able to recognise a key signature on a staff for what you want to do. But it'd be useful to know what sharps or flats there are in a key. You wouldn't want to unintentionally play a C natural over an A major chord for instance. Playing improvised music is cool, but I'd have though it calls for a reasonable knowledge of harmony to be able to pull it off successfully. Though I agree being able to sightread isn't necessarily a prerequisite.

[quote name='moonbass' timestamp='1397022694' post='2419745'] To work out a minor key signature you have to find the relative major. This is the key 3 semitones up. So for A minor go up 3 semitones and you have C major (imagine it on a piano keyboard if that helps.) C is therefore the relative major and has the same key signature as A minor, ie no sharps or flats. For another example, G minor. If you go up 3 semitones from G you get to Bb, so G minor has the same key signature as Bb major: 2 flats - Bb and Eb. Note that it's NOT A# major - the rule is you have to go through 3 separate letter names when going up the semitones, ie G, Ab, A, Bb. Note there are other things to know about harmonic and melodic minors! [/quote] Harmonic and melodic minors don't have key signatures, you just put in the accidentals as required.

[quote name='flyfisher' timestamp='1397159596' post='2421379'] Though wouldn't it be possible then to be able to play the notes but not actually know what they were? I can't read music (well not fast enough to play from it without first learning it, if you see what I mean), but I know the notes on my fretboard. [/quote] Why would you bother learning to read music, but not learn what the notes on the fretboard were ? I doubt you could anyway, every book I've ever seen that instructed you in sight-reading said what the note names were, so you'd learn them that way. Maybe take some Tipex to the note names and just learn first line on the staff = 3rd fret E string, 2nd line = 2nd fret A string. It just totally baffles me why people have such a half-hearted approach to learning basic music theory and stuff. If only they spent as much time in learning at as making excuses not to. Oh but it stifles my creatively and other reasons. Some guy on another thread here said how when making a new bass line for a song, he pretty much plays every note on the fretboard searching for the 'right notes' !