derrenleepoole

Nice one, that 10" is cute

[quote name='wateroftyne' post='881711' date='Jun 30 2010, 10:50 AM']Nice clips, by the way. Sounds like a fun band...[/quote] Cheers, it's great when we play right, sorry, when I play right The drummer has just got an acoustic kit as of yesterday, so that should make things interesting!

Derek Bailey & DJ Ninj - Guitar, Drums 'n' Bass It's driving my co-worker nuts!

[quote name='eude' post='881665' date='Jun 30 2010, 10:12 AM']I think a lot of folks might have had a bit of brand snobbery to start off with, Ibanez make cracking guitars and basses, however they do predominantly appeal to metalers. Ibanez's previous experience of amps has been pretty small and budget so I guess they've found it hard to shake off that stigma when lauching their "pro level" kit. I have to say, I have been pretty cautious too, I had my eye on this stuff as soon as the first press release came out, but I made sure to hold back and read up on the reliability etc. before making my purchase, which I do so with every confidence now Eude[/quote] This was exactly my experience. Oddly enough I didn't have that stigma and judged it on my requirements and needs, so bought accordingly. I think I was one of the very first to get the Promethean on this forum and a lot of people did slag it off at the time! How things change

[quote name='wateroftyne' post='881658' date='Jun 30 2010, 10:05 AM']Ta for the info, Derren. Quick question - I know this is probably pushing the laws of physics given the combo's size, but how do you think the combo alone would cope with a fairly low-volume band rehearsal, or an acoustic-ish open mic night with a quiet drummer?[/quote] Easily in my experience. Obviously if the amp is driven it will distort, but I can happily push the volume to half way (even more) and be very loud and not distort - more than enough for a small rehearsal and even a pub gig. Add an extension speaker and the presence is significantly better obviously. There are some audio recordings of me using the Promethean with a Trace Elliot BLX80 extension speaker. It was recorded on a Zoom H2 sat in a corner of small pub room. It's worth noting that we have a drummer who uses an eKit which dramatically changes the onstage dynamics. The room was also a bit boomy, so it sounded fine on stage but projected out as such! Opps! But at no point in the gig was the amp driven or distorted, if that makes sense? The bass used is a Tanglewood semi acoustic short scale. Also, my band isn't a very loud band, gone are those days for me Some of the audio is here (I've just uploaded this audio so it might take a second or two for the waveform to refresh, so just bare with it): [url="http://soundcloud.com/fourfingerfunk/dealing-with-the-devil"]http://soundcloud.com/fourfingerfunk/dealing-with-the-devil[/url] (a swing blues number) [url="http://soundcloud.com/fourfingerfunk/born-under-a-bad-sign"]http://soundcloud.com/fourfingerfunk/born-under-a-bad-sign[/url] (a rocky blues number) If you really want too, you can see the videos of these songs as well, but the sound through the video mic is distorted to buggery! I play like a dork [url="http://www.facebook.com/video/video.php?v=1515479491571"]http://www.facebook.com/video/video.php?v=1515479491571[/url] [url="http://www.facebook.com/video/video.php?v=1515545773228"]http://www.facebook.com/video/video.php?v=1515545773228[/url]

I've also been chatting with 'GeoffByrne' about this very same combo too. It would appear that it's now getting a lot more attention which it rightly deserves.

[quote name='eude' post='880390' date='Jun 28 2010, 09:45 PM']Promethean P5110 combo and "man bag" ordered from Thomann. Let the anxious waiting begin... Eude[/quote] You'll love the combo mate. I find it to be a very versatile and practical unit at a fantastic price point. The fact that the head is removable is a real bonus and is what sold it for me. I find I don't need to use the EQ much as it's quite a clean amp, so a good bass will shine through it. The features such as mute, selectable EQ and vibe settings means you can have a variety of tone options 'on tap' easily just with the flick of a switch. The 'man-bag' is very useful and very well made and makes for a nice complete package. I personally feel it could do with some grab handles on the side as you can only lift it with the long strap. A bit awkward in and out of deep boot spaces, but that is a minor gripe. Overall a nice compact and useable unit for small venue gigs, stick an extension speaker on and you're rocking I've had a MB CMD112P in the past and the Promethean is slightly heavier but in the same size range. The Promethean is also built like a tank and does remind me a lot of the earlier SWR Working Pro combos. Everything about the unit feels well made and well thought out, and I think this is reflected in Ibanez's long history of successful guitar making etc. They'll obviously listened to what consumers want and have made it.

My momma always told me to stay away from bad basses like that........

I wanted to say thanks to this thread, because for the first time in I don't know how long, I've actually sat down and done some practice and learnt how the bassline actually goes.

There is a full transcription of the PC bassline of So What in the February 2009 edition of Bass Player. The first note is shown as D. Hope that helps?

One could argue though that a song like Moondance could be played beautifully I guess - but some may argue you can't polish a turd right And yes, they do get requested all the time. I've been in a function band setting myself on many occasions and it's disparaging to play the same old boring stuff again and again and it does get very frustrating... and it's easy to feel put out by peoples lack of understanding over such matters. But that was some time ago now, and my views have mellowed some what. I'm a hobbyist bass player now and can perhaps enjoy these type of songs more for what they are and not what they could have been, as it's not as crucial for me to play them anymore. I suppose it also comes down to expectations in music too. As I'm now simply playing for pleasure and no longer worry about the hard graft of study and theory, I can just enjoy playing more - I don't feel I have anything to prove.

I thought it was a great show. Who cares if the band overplayed or there were a few cringe worthy moments here and there. This was the last big gig of a huge festival and Stevie and the band got it right - he and the band made it a party atmosphere for all the crowd, that ended the festival on a very high note. Some of you chaps are far too judgemental!

[quote name='jakesbass' post='879713' date='Jun 28 2010, 11:40 AM']Sorry it was not meant as personally as it seems to have ended up, I'm definitely not inclined to be snobbish, I just don't like the tune but I do see the value in it being a gentle introduction, so apologies again if my tongue in cheek felt too close to the bone, honestly not intended. As for the milestone element, absolutely I agree with you that what seems important at the time can be superceded and we should remember the early steps we took. My vitriol may well come from the fact that I've had to play it about 10,000 times, but as I say even then I still feel privileged to play bass for a living, and I agree that we should keep an eye on keeping the punters happy, after all they make the job possible. Not meant personally, so please accept my apology. Jake[/quote] Hey man, that's cool... I completely understand, no apology necessary You're right though, the milestones that make us a players do get superceded in time and it's very easy to forget humble beginnings. Something I have to remind myself constantly about this being a graphic designer for a living. Not all clients understands good use of type, composition and form and only ever see the '£' symbol attached to the job forgetting the basics of why they ask you to do the job in the first place. Sometimes, it feels like I'm starting a fresh with each new job, and it does get tiresome, especially when you've done 1000's of jobs.

[quote name='fatback' post='879694' date='Jun 28 2010, 11:14 AM']+1 As a popular tune, it's a classic, and folks love it. It works, so where's the problem?[/quote] Cheers mate

[quote name='jakesbass' post='879615' date='Jun 28 2010, 10:07 AM']Thats because it has none of the sensibilities of a real jazz standard, the movement between the chords is non typical in harmonic progression when compared to the run of the mill standard, and the reference (the original bass line) is someone who clearly has no clue about the idiom flailing around like a coked up jellyfish.[/quote] Perhaps, but to a spotty 18 year old learning their chops it's not a bad place to start and provides a good building block to work from, whether or not it's typical of a proper jazz tune or not. This statement I feel sums up the snobbery sometimes inherent in music these days (not just jazz mind). As we all know, it's only the musicians who care about such things, the audience couldn't give a damn right? As long as it sounds good and they can sing along to it Being clued up on all the intricacies of jazz harmony is one thing, but let's not lose sight of the fact that we're here to make music, and that's all that matters ultimately. The fact that you felt the need to play me down on this and piss on my chips as you put it, perhaps shows a lack of understanding of what it is to feel like you've achieved something early on in your musical development. 20 years down the line as a player, I look back on this achievement with fondness, not because it was an amazing feat of musical prowess, simply because it marked a turning point in my understanding of how to play the bass. Sorry if it doesn't meet up to you obviously superior musicianship! Jeez!

[quote name='Bilbo' post='878771' date='Jun 27 2010, 12:44 PM']As for Moondance; don't worry. You can't polish that turd.....[/quote] Moondance was the very first composition I managed to do a reasonable walking bass line on

So What is one of those compositions that can make or break a good jazz band IMHO. It's a deceptively simple piece yet is difficult to maintain interest in the playing if the performers are not all all that. Not saying you're not good or anything you understand - just an observation. It's simple structure means it can be very easy to get lost in the piece... which bar are we on again? Because there is so little to it compositionally, there's little to hide behind so the whole rhythn section is very exposed. It's one of those pieces I simply won't attempt live

[url="http://ardour.org/"]Ardour[/url] is completely free and works a lot like Pro Tools. It's open source, so can be a bit buggy on occassions, but certainly no more than any application really, but it does offer all the features of all the top DAW's.