EssentialTension

[quote name='Marvin' post='898346' date='Jul 18 2010, 08:16 PM']Is that when you start calling them those funny other names, when you start knoblin' about with minor 2nds and augmented 5ths? All though I think I might be wrong.[/quote] Yes, I believe, as a rule, in C, the augmented 5th would be G# and, as my son said to me only the other day, 'augmented 5ths are awesome'.

[quote name='Mog' post='898330' date='Jul 18 2010, 07:49 PM']I could read back through the thread but I couldn't be arsed [/quote] Fair comment.

[quote name='MacDaddy' post='898306' date='Jul 18 2010, 07:21 PM']Certain keys have certain notes[/quote] Wouldn't it be better to say that certain scales in certain keys have certain notes? Not certain notes but [i]any[/i] of the twelve notes occurs in any and every key and the note would then be named as an interval in relation to the key note e.g. in the key of C, Db would be a minor second, D would be major second, Eb would minor third, etc., up to B would be major seventh. So certain keys don't have certain notes, all keys have all the notes. Or am I getting it wrong and I need to learn more theory? Edited for inability to follow rules of spelling.

[quote name='MacDaddy' post='898306' date='Jul 18 2010, 07:21 PM']Quite simply there aren't any.[/quote] So your rule is 'no rules'? ... and +1 on what Doddy said.

The way I took Doddy's original question was whether we would prefer to be 'stylistic' or versatile'. I'm no session player nor even a very good bassist but I like playing lots of different styles of music. I'd be bored always playing one style. This isn't to say that there are no styles or genres I don't like - I can't abide metal, for example - but if someone says to me 'Hey, do you want to try playing some country?' then I'm up for it and I'll be looking into what it takes to play country bass. That's why I prefer versatility. Your experience may vary. The twist to this is that, whatever style I play, I still have a tendency to sound like me.

[quote name='Grand Wazoo' post='898091' date='Jul 18 2010, 02:54 PM']I am a happy bunny! This bass might look odd to most of us (yeah, I also find it a bit funny looking)[/quote] Pretty good looking I'd say (although it seems to have an extra string). It kind of looks like a surfer's bass to me.

[quote name='KiOgon' post='898187' date='Jul 18 2010, 05:05 PM']I forgot to mention - my current gas/lust is a '57 Vintage White/Blonde - just how I like my woman too [/quote] You like vintage women? I agree there's something to be said for it.

[quote name='essexbasscat' post='897919' date='Jul 18 2010, 11:44 AM']Good news I hope T[/quote] It usually takes a few days to get the result from these exams but 'Come on Sarah, how'd you do?'.

[quote name='joegarcia' post='895242' date='Jul 15 2010, 12:00 AM']1977 Guild B-301. My current go to bass for my band. Beautiful to play and sounds really amazingly versatile and edgy. Tuned down to A too so gets really deep but still has loads of bite if you play at the bridge.[/quote] Nice collection. I saw someone playing a Guild B301 at the Hop Farm Festival acouple of weeks ago. I'd never heard one before but it was a very good sound.

[quote name='redstriper' post='898056' date='Jul 18 2010, 01:59 PM']Get a second opinion - saying that your sound is awful just before you go on is not what you want to hear and blaming the material used for the driver's magnet is ridiculous. If he can't get a decent sound from your gear, maybe you need a new sound engineer.[/quote] +1.

[quote name='funkle' post='769988' date='Mar 10 2010, 05:05 AM']Ah. Apologies. Not sure - this person is visiting the relevant factory in China now. They were confident that production had been moved from this factory to Indonesia, and that it had already happened for the CV Squiers. The other possibility, which I am sticking in here on my own supposition, is that production could alternatively have been moved from one Chinese factory to another. Wait and see, I guess! The labels on the back of the headstock will eventually tell.[/quote] Any update on this?

[quote name='BigRedX' post='898054' date='Jul 18 2010, 01:59 PM']The bass guitar isn't the only method of getting low notes. Something other than a plucked string supported by a couple of pieces of wood isn't always the most appropriate sound.[/quote] Yes, sometimes you just can't beat a tuba or even a double bass.

... and can't stand Rotos, love Fenders.

[quote name='BigRedX' post='898015' date='Jul 18 2010, 01:15 PM']Rotosound Bass Strings are like Fender Bass Guitars. Superior when there wasn't much competition, but technology has moved on since the 60s and they haven't really kept up.[/quote] Yes, technology has moved on and there's no need for strings at all, just get a synth.

[quote name='thisnameistaken' post='898001' date='Jul 18 2010, 12:59 PM']Cheers but I don't like his sound or his solo stuff, and I was never a fan of Luther Vandross either tbh! I know he's a skilled player but I don't listen to songs because the bass player's good.[/quote] Ah, excellent, we agree.

[quote name='thisnameistaken' post='897925' date='Jul 18 2010, 11:47 AM']I have heard of those players but beyond their most famous output I can't listen to them because I don't know what records they're on. If they've made a living doing this then presumably they're on hundreds of records? Most of them bad records?[/quote] Here's a Marcus Miller discography from Wikipedia to get you started: Solo period (1982–present) * 1983: Suddenly * 1984: Marcus Miller * 1993: The Sun Don't Lie * 1995: Tales * 1998: Live & More * 2000: Best of '82-'96 * 2001: M² (2002 Grammy Award for Best Contemporary Jazz Album) * 2002: The Ozell Tapes * 2005: Silver Rain * 2007: Free * 2008: Marcus[3] * 2008: Thunder (as SMV, with Stanley Clarke and Victor Wooten) Luther Vandross Period * 1983: "Busy Body" * 1985: "The Night I Fell In Love" * 1985: "'Til My Baby Comes Home" * 1985: "It's over now" * 1986: "I Really Didn't Mean It" * 1986: "She Won't Talk To Me" * 1986: "Give me the Reason" * 1987: "Stop to love" * 1987: "See Me" * 1988: "Luther In Love - Megamix" * 1988: "Any Love" * 1989: "The Best Of Love" * 1989: "Come back" * 1991: "The Rush" * 1991: "Power of Love / Love Power (Uno Clio & Colin and Carl Remix)" * 1991: "Power of Love / Love Power" * 1991: "Power of Love" * 1993: "Never Let Me Go" * 1993: "Heaven knows" * 1995: "This is Christmas" * 1995: "Power of Love / Love Power (The Frankie Knuckles Mixes)" * 1996: "Your Secret Love" * 1996: "I Can Make It Better" * 1998: "I Know" * 2001: "Luther Vandross" * 2003: "Dance With My Father" * 2007: "Love Luther" David Sanborn period (1975–2000) * 1977: Lovesongs * 1980: Hideaway * 1981: Voyeur * 1981: As We Speak * 1982: Backstreet * 1984: Straight to the Heart * 1987: Change of Heart * 1988: Close-Up * 1991: Another Hand * 1992: Upfront * 1994: Hearsay * 1995: Pearls * 1996: Songs from the Night Before * 1999: Inside Miles Davis period (1980–1990) * 1981: The Man with the Horn * 1981: We Want Miles * 1982: Star People * 1986: Tutu * 1987: Music From Siesta * 1989: Amandla * 1991: The Complete Miles Davis at Montreux The Jamaica Boys period (1986–1990) * 1987: The Jamaica Boys * 1989: The Jamaica Boys II: J. Boys Film Scores * 1990: "House Party" (featuring Kid & Play) * 1992: "Boomerang" (featuring Eddie Murphy) * 1994: "Above the Rim" (featuring Tupac Shakur) * 1994: "A Low Down Dirty Shame" (featuring Keenan Ivory Wayans) * 1996: "The Great White Hype" (featuring Samuel L. Jackson) * 1997: "The Sixth Man" (featuring Marlon Wayans) * 1999: "An American Love Story" * 2000: "The Ladies Man" (featuring Tim Meadows) * 2001: "The Trumpet of the Swan" (featuring Reese Witherspoon) * 2001: "The Brothers" (featuring Morris Chestnut) * 2001: "Two Can Play That Game" (featuring Vivaca Fox) * 2002: "Serving Sara" (featuring Matthew Perry) * 2003: "Deliver Us from Eva" (featuring L.L. Cool J) * 2003: "Head of State" (featuring Chris Rock) * 2004: "Breakin' All the Rules" (featuring Jamie Foxx) * 2005: "King's Ransom" (featuring Anthony Anderson) * 2006: "Save the Last Dance 2" (featuring Izabella Miko) * 2007: "I Think I Love My Wife" (featuring Chris Rock) * 2007: "This Christmas" (featuring Idris Elba) * 2008: "Thunder" (featuring Stanley Clark and Victor Wooten) * 2009: "Good Hair" (featuring Chris Rock as SMV) * 2009: "Obsessed" (featuring Beyoncé Knowles)

[quote name='Mog' post='897504' date='Jul 17 2010, 07:08 PM']How many of the basslines in chart music are standout nowadays. How many make you sit up and think, Wow what an unusual place to play X, Y or Z. None.[/quote] I wouldn't know. As far as I'm aware I don't listen to chart music - although if I did I probably wouldn't know it was chart music anyway. Also, I wouldn't expect every bassline (or even [i]many[/i] basslines) to stand out or make me sit up and think. I'd expect the bassline to be doing what works for the song and its arrangement. Which might well be I-V. [quote name='Mog' post='897504' date='Jul 17 2010, 07:08 PM']Like I said in an earlier post, I've done the money thing. My first well paying gig as a session musician was at a blues/jazz and country music club, on some nights I'd have to cover bass, guitar and keys depending on the bill. I've seen what others do and how they approach different styles of music. From studios to clubs 99% of session musicians go through the motions. No feel, no personal touch. Just do the job, get paid. How long they last in the game is another thing Dave. Its not like theres an overabundence of quailty musicians. Those who last are the ones who do it well. The 1% I mentioned.[/quote] While I bow to your greater experience as a session player, I'm slightly shocked at your negative attitude to other musicians. I'd say that, in fact, there is an adundance of quality musicians - that's certainly my experience. And, going by my observations of my son and his group of musician friends, there are two kinds, roughly speaking: the ones who can play only one style and the ones who are actually rounded musicians and can play in a variety of styles and desire to learn more. [quote name='Mog' post='897504' date='Jul 17 2010, 07:08 PM']Do you really think artists in popular music, who have no input in the songwriting process, have a notion what a session musician is or is not doing? Or even care for that matter, Considering the bassist who lays the track in the studio is rarely the same one(s) who will playing on tour.[/quote] I don't really understand what your point is. Does 'artists in popular music, who have no input in the songwriting process' mean 'young singers who happen to be marketable but aren't themselves songwriters'?

[quote name='thisnameistaken' post='897752' date='Jul 18 2010, 02:55 AM']Didn't you have a f***ing rock star to look up to?[/quote] No. I've always preferred listening to music and playing music.

[quote name='Marvin' post='897473' date='Jul 17 2010, 06:22 PM']This is what I've been adhering to for the last 6 months since I've started practising properly. However, I find my plucking hand feels restricted and hunched up. With the longer strap it feels much easier, especially for using 'floating thumb' to mute, that's probably just me. I've played a little more since posting this thread and must admit to being a little concerned about the reach of my fretting hand though. It is restricted and a little choppier. I may have to find a compromise height. It's OK at the moment as I'm not playing anything particularly taxing but I should imagine anything above plodding pop music may get awkward for me.[/quote] As well as height of the bass, the angle of the bass to the body is important. Parallel with the floor may make left hand more difficult when the right hand position is correct. Forty-five degrees to the floor (i.e. headstock raised) may make both hands feel more comfortable - but that means getting the balance on the strap over the shoulder correct as well as the strap length.

[quote name='Mog' post='897453' date='Jul 17 2010, 05:47 PM']IMO, 99% of session bassists are merely going through the motions in most cases.[/quote] If that was true then I doubt many of them would still be working.

I like my strap adjusted so that the bass is in roughly the same place standing as it is when I am sitting down but sitting up straight and the bass is resting on my thigh.

[quote name='Sarah5string' post='897117' date='Jul 17 2010, 09:46 AM']I've got my grade 4 exam in 24 hours! (10am on sunday) ohmygodohmygodohmygoooooooood[/quote] Don't worry, you are going to pass. You might even get a merit or even a distinction, but you're definitely going to pass.

[quote name='algmusic' post='897169' date='Jul 17 2010, 11:18 AM']What size do you use?[/quote] Trubass are 65-75-100-115 for the standard 34" scale.

If you sell, you will regret it. If you don't sell .. well ... you can always change your mind and sell later.