Baloney Balderdash

How ironic... Also: Written in reply to a post by "Burns-bass": To which was replied :

What? No! If the you put a capo on second fret of a long scale bass to use it as a short scale bass the effective result compared to a real short scale bass would be as I described:

But with a wider nut width, and fretboard in general, with 2 less frets, a bigger bulky body and a huge hangover at the headstock.

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But that is rather obvious, and I never claimed otherwise. So clearly you were trying to prove something. The question is what exactly and why? However you don't need theory to know that. Ears and experience will tell you that. And personally I prefer the music and my ears to tell me what to do. But if you prefer your crotches and training wheels then suit yourself.

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You still don't seem to grasp what the concept of theory means and implies. I really can't be assed to go into this discussion. But theory is secondary, you got it the wrong way around. The theory is based on the language, the language is not based on the theory.

Then you don't understand what theory is. Or more specifically what (western) music theory implies. No I didn't.

I never claimed anything like that.

To be perfectly honest I am not impressed. Also, what exactly is this supposed to proof? Where is the version where you don't base the solo on music theory but primarily use your ears and intuition, so we can compare and see which is better?

And I am certain it would have been a much better solo had it been based on your hearing and intuition, rather than theory.

This got to be the best introduction to time signatures on YouTube : Agree, music theory should be used to analyze music, not to write music, your ears should.

And we all know the quality of music can be objectively measured by how complicated it is, the more complicated the better music.

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I get loads of scam/fishing e-mails, and what strikes me is how bad the average scammer apparently is at scamming. Then again the general stupidity of a humanity at this point shouldn't really surprise me anymore. It's just kind of tragic and sad to think about, but does explain why the world is as it is, and why we can't have nice things.

I am pretty sure that usually with high profile professional musicians it is the other way around. That is companies contacting the artist to offer them an endorsement deal.

Since I discovered this technique I have used it a lot. It's sort of an alternative to partly muting/palm muting strings, but it sounds a bit different, with a bit of an upper end subtle click, almost muted marimba-esque. It does require rather precise fretting though, or else you end up with a rattling sound that resembles that of not applying proper pressure when fretting a note the regular way. It's not about replying a lot of pressure though, but rather getting the position of your fretting finger almost dead straight right, as described in the OP. And I figure it doubles as great practice for playing fretless bass as well.

And how do you know this is actually the case? You do realize that gear endorsements are extremely common all over the music industry, right? Nearly every single professional musician will have more than just one gear endorsement deal with various music gear companies. Seems strange to me why you want to single out Victor Wooten in specific, a musician that I only ever got the impression of, wherever I have seen him, to be an extremely down to earth and lovely human being. Jealousy?

Well all playing, regardless of the supposed objective value or quality of what is played or the context it was played in, can essentially be reduced to a series of various techniques if that is what you want to make of it.

Well, admittedly it doesn't exactly sound great in that demo either, but it does at least sound better, and not absolutely horrible.

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It seems that a lot of people seems to be of the assumption that technical playing is the opposite negation of serving the song or soulful playing, which is just nonsense. Of course it can be, but so can just turning out root notes, or any other type/style of playing for that matter, but it all depends on the context. From what many people are writing here it sounds like some of you are automatically dismissing everything as soon as it gets a bit too technical as bad, without actually listening. Context, context people. Also, do some people have an aversion against solo pieces, or is it just bass solo pieces, if then why is this, and if not, how can a solo piece serve the song, it is the song? Also I love the sound of bass as an instrument, one of the main reasons why i chose it as my main instrument. Why chose it as your main instrument of choice, if you don't like the sound of it?

What kind of jazz though?