TimR

[quote name='bassman7755' timestamp='1376040991' post='2168849'] Thinking of theory as "rules" leads to trouble IMO because its not really about "right" and "wrong" its more about seeing music as a set of recurring structures and patterns. For example if I'm playing in the key of A minor, theory tells me that c# is "out of key" which doesn't make it wrong because with a bit of imagination its probably possible to create a context where it will sound good. Theory is merely alerting me to fact that some extra care is needed with the use of that note. I guess the idea of theory being rules dates back to a time were only one form of music (classical) existed and in that context certain things got labeled as right or wrong but they are only right or wrong for producing that particular sort of sound. [/quote] Theory is NOT rules. Why do people insist that it is? Does English have rules? No. It's just a way of describing what you are playing. If the guitarist tells you he is playing an Amin and you don't even know where the A is in your fretboard how can you even say you are intermediate? If a guitarist auditioned for my band who had been playing for years and described himself as professional, I would expect him to know the names of the chords he is playing and how to play the chords when I give him the names. It's fairly simple, why complicate something as simple as beginner, intermediate and advanced?

You're not intermediate until you know the names and positions of all the notes on the fretboard and the difference between a major and a minor chord. So as you know no theory you are a beginner.

Most bands/artists that have longevity have to evolve or adapt every few years. Genisis are no exception. Bands like Marillion have (IMO) got themselves stuck in a rut. They still sell albums but by crowd funding them before they record them. They have to be careful, what happens if they bring something out so diverse that the fans, who have already paid for it, don't like it? Music is fickle. I don't think they could have continued to trot out the 70s stuff throughout the 80s and 90s. Once Phil Collins recorded solo, his new fans were bound to follow him back to Genisis and it would have been wrong financially not to take advantage of that by shifting musically. Gabriel continues to be weird, if that's your bag.

CLEAN IT???!!! You can't clean it! You'll erase all the majesty and all the funk it has collected! We are but conduits for The Baton. I think even restringing it is heresay, maybe if a string breaks but hey... I shall receive the bass and pass it on adding nothing but funk and taking nothing but pleasure in the process. (Although I may tune it, if absolutely necessary)

I've got it on the 10th. Gary Mac is due to get it after for a gig on 17th or 24th. But I could take it into central London any evening 12th-16th if necessary.

[quote name='ubassman' timestamp='1375728285' post='2164870'] BTW the bass has 3 new sets of strings courtesy of Milty ! The existing ones are really slap and poppy -TimR do you want these leaving on? [/quote] Yes. I'll play anything. It's all in the fingers

I'm wondering if we start a new topic each time the bass gets into a new area. Some title like "Calling all bass players in the xxxx area." Then in the body say the relay bass is in your area please check the stickied thread. Just to bring attention back here. I'd pretty much forgotten we were even doing a relay and popped in here by chance.

Gary, my gig is on the 10th and I'm hoping to collect the bass that morning. I'll post here and PM you after the exchange has taken place.

[quote name='BigRedX' timestamp='1375698641' post='2164339'] And what would be the band's liability, if the landlord lost his licence as a result and consequently sued them for by-passing the noise limiter system? [/quote] I can't see that happening. He would have to prove that the loss of license was attributed to that single event (it wouldn't be). If the landlord is having that much problem with his neighbours and was still intent in holding music events there are other avenues available to him (see link).

It's the landlords responsibility to ensure his neighbours aren't being subjected to nuisance noise. It's his licence and consequently livelihood at stake. Assuming that the landlord is present of course.

Yes. I pm'd Len and we will meet assuming no one up north comes up with any requests in the mean time.

One of the bands I played with suggested we played at a garden centre or in front of Tescos. My argument against is that you are not effectively targeting the people who will book you. We played a summer fair and got no bookings. After I left they played a garden centre and in front of Tescos (for charity). And got no bookings. It's a lot of effort to go to not to get any results. At a festival you have people there who are your target audience, they'll hang around and appreciate what you're doing. On the high street on a Saturday morning, you don't. People are there to shop and go home. The main reason I didn't want to do it was because it smacked of desperation. It's a good idea and obviously works well at the right time and place.

BigAlOnBass has some interesting points that are echoed here, along with some work rounds and things to watch out for. http://www.astralsound.com/noise-limiters.htm

Here. Lord knows how the embeddy thing works: http://youtu.be/hLmz2_HD0to

I'm sure GP was a member here until he got into a stupid argument about his one man show. Great. There's a live version of Sheep from a Roger Waters show on YouTube. I'll see if I can link it. It's a bit odd, not sure if it's because he's playing and singing but I would say he doesn't quite hit the groove. The backing band are awesome though.

Jon. That is not the question you asked. These threads can quickly descend into nonsense as everyone jumps in to explain what can and can't be done. You CAN power both cabs from that amp BUT not by plugging them into the two outputs on the amp. That would mean the amp seeing 2 ohms. If the cabs are identical then you can run them in series using a different cable or 'special box'. If the cabs are different you will have very upredictable and possinly undesired results.

Adrian Smith left in 1990 and replaced by Yanik Gers, then Adrian Smith came back 9 years later. Since 1988 Steve has played the keyboards. Live the keyboard player is still hidden off stage. I think 1990 marked the end of the old Iron Maiden era. Nico is quite vocal if you ask him when they're going to get back to playing good tunes like they used to. Tbh- Listening back to Somewhere In Time and Seventh Son they're not as good as I remember them being at the time. Everyone moves on.

July 2013 updates here: http://barefacedbass.com/ordering-and-availability.htm It seems Alex has come a long way in the last few years. I originally followed his complete prototype build on Bassplayer forum. Pics and mistakes and all. He was originally doing a full time job, with a wife and new born baby. He took on a carpenter to build the cabs. I have no idea whether he is now doing this full time or not. He used to moderate an entire sub forum here just for his cabs.

[quote name='AussieBassman' timestamp='1375138919' post='2157294'] This advice ignores the series/parallel difference. [/quote] Indeed. The question is can he plug a 4ohm cab into each speaker output. He can't. Because they're parallel. You can muddy the water by talking about the merits of additional volume from two speakers in series vs more power output to a single speaker and sensitivity. However, we're possibly talking about 2 dissimilar cabs and running them in series is going to cause all sorts of issues.

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No that's a good approach. I tend to use something similar. I'll run through the set. I don't stop if I make a mistake but at the end of the song I'll make a note to come back to it. Then just move on to the next one.

"How do you memorise songs assuming you have already worked it out?" Re-reading the question, I think that working it out is the major part of learning it. The songs just go straight into my memory. Others just need repetition. The main challenge I find is remembering the order of sections in the trickier/longer or very easy/short tunes. "Wish you were here" was a bit of a nightmare. Very few chords 4, with 16 bars per section? Then verses and choruses sometimes doubled, sometimes not.

As a musician the most important skill is to learn to listen and grow good or 'big' ears.

Not sure how I missed this first time round. There's lots of different things in my armoury. The first thing I do is learn the tune in my head. What the bass line riffs sound like during The various sections. What the intervals sound like for the chord progressions. Any tricky bits like 2 beat bars. I take on board what all the other instruments and vocals are doing so I know why the bass line is how it is (more of that later). Once I've committed the song to memory by listening to it in my car etc then I'll pick up my bass. By then I've got a really good idea and using years of practice (instinct?) I'll usually play it pretty much straight away depending on difficulty level. Then if there are bits that I struggle on I'll practice only those sections until they're right. The time spent playing the bass along to the tune is actually very short in a lot of cases. I'll usually play along to mp3s of the whole setlist on the afternoon of a gig. As the band get together to play a tune I've found they and I don't always learn everything note perfectly, usually for a whole host of musical reasons. This is why it's important to understand what everyone else should be playing and be able to adapt what you play to fit what they're actually playing. Without getting into arguments or treading all over the instrument or vocal parts

How old are you Shell? How old do you look? How old do you feel? All different. I think enjoying playing the song is the important factor. If you like a song and it moves you then the audience will sense that. If you're not enjoying it and the song doesn't sound right musically because you're not feeling it then maybe you should let the band know you're not happy. I would never boycott any song due to words or style, only if I thought it didn't sound good.