leftybassman392

[quote name='The Jaywalker' timestamp='1503670862' post='3360199'] I havent seen any elitism at all. . [/quote] ... on which point I fear we must agree to disagree. We can all cherry pick the bits from this thread that support our arguments, but I've encountered musical snobbery before and I know what it looks like. There's elements present from both sides of the argument in this thread. As a tutor I would routinely work in whatever format seemed to best serve the interests of the person sat in front of me. Sometimes it involved dots, and sometimes it didn't.

[quote name='chris_b' timestamp='1503656399' post='3359987'] It might work for untrained people in limited circumstances... [/quote] Which, I would respectfully suggest, makes it ideal for a large number of BC members... Not wishing to labour the point, but not everybody wants or needs to be able to read dots. If that means they're less likely to be taken seriously as musicians by people who take themselves seriously as musicians, I rather suspect most won't worry unduly. While I'm here, I seem to detect a hint of 'us-and-them' elitism creeping in here (which I have to say I've encountered before in my travels within the industry). People who can read and play to the standard expected of a professional musician have invariably worked hard over a long period of time to get where they are. That doesn't make it all right to be so dismissive of others who have got where they are by different routes (usually for a range of very good reasons). Basschat isn't a professional association, it's an internet forum for people with a shared interest.

I once got given an LP that I'd won in a pub raffle in Jesmond (Newcastle-on-Tyne for those that need to know). by His Stingness. He and the other members of the band - no, not [i]that [/i]band - had signed it. I still have it around somewhere. It was big band jazz featuring Jon Hiseman on drums IIRC.

Not with a couple of 5" speakers you won't. On a more serious note, PJB is a fairly specific sound. Definitely try before you buy. You should be able to get cabinets to suit your power requirements: whether you'll want them is another matter.

From an ex-tutor's perspective (not trying to pull rank, but...) I never ceased to be surprised what kids enjoyed listening to. Whilst many would indeed follow the well-trodden path of rocking up with a cd featuring something I'd never heard by someone I'd never heard of, every now and then someone would ask for something by RHCP, or The Beatles, or (in one fondly-remembered case) [i]anything [/i]by AC/DC. Sometimes the apple does fall close to the tree, and although a lot of the stuff posted above is perhaps a bit fanciful in the current context you never know until you ask (and IME passion and enthusiasm for music does have a bit of a habit of rubbing off on kids).

Just listened to three of the the parts and hopefully will get to the others a bit later. Fascinating stuff, thanks for posting.

"Right then boys; do you want me to tell who/what* I think are the best players/bands/songs/albums/styles*, or do you want me to suggest something you might have a chance of actually being able to play sometime soon?" *Delete as appropriate

[quote name='fftc' timestamp='1503315529' post='3357067'] To me the confederate flag represents slavery, repression, racism. [/quote] Not to mention declaring war on their own government in support of these values. Wanting to keep it because you think it looks cool is frankly a bit naive. Given the febrile atmosphere over the pond in relation to this issue, how long do you think it will take for people to start taking sides over here? Hard not to see it as a headache you don't need TBH.

@Steve Woodcock A few thoughts in passing if I may. Not preaching, just some things that spring to mind when reading your contribution. Your post, erudite though it is, nevertheless reads as the type of handout one might give to a student at the beginning of a sequence of lessons - a bit heavy on content perhaps, but you get the idea. I am assuming from the nature of your post that you earn at least part of your living as a tutor. If that is not the case then you have my apologies (though my remarks will still have a bearing on the topic under discussion). As a tutor of some 15 years' experience (now retired) and a schoolteacher for some 15 years before that, I can tell you that not everybody crossing your threshold will want to become a well-rounded musician (unless of course you have engineered your teaching around this as a basic requirement). Some will, but I rather suspect that presenting a fait-a-complis to everybody who walks in would have some raising an eyebrow and one or two turning around and walking straight out again. Encouraging students to want to become well-rounded musicians is a very laudable aim. Ramming it down their throats is another matter entirely. Part of the art of being a well rounded tutor is finding out what each student is hoping for from a set of lessons (yes, I know that a lot of them won't, but that is another thread I suspect...), and then balancing that with what one's professional judgement indicates they might benefit from. If they want to become a well-rounded musician then well and good, but if they don't then one may find that another approach is called for. Now that I think of it, there was a thread on this very subject a few months ago...

Welcome to the forum. I lived in Northampton for nearly 20 years until around 7 years ago, and played in numerous bands as both guitarist and bass player. Whereabouts are you?

It may be worth pointing out that for some stringed instruments and styles, some form of tablature is still the default notation format AFAIK (I'm thinking particularly of 5-string banjo and Flamenco guitar, but I have a feeling there are others*). In general terms I agree with the idea of learning standard notation if you can, but tabulation-type notation still has a function despite it's obvious shortcomings. *Footnote: banjo and flamenco can both be written using modified forms of standard notation of course, but the basic point remains valid.

Limericks tacky and sad really are ten a penny You don't need an English degree to do overly many Anapestic rhyme should be Declared a crime but I'm off Now to prepare some verse about county Kilkenny

Learn how to play scales. Any number of online sources. Better yet, get a decent tutor.

[quote name='converse320' timestamp='1502350486' post='3350784'] As someone who bought a 3/4 scale, I'd recommend a 1/2 scale if you can find one. [/quote] Indeed. With no disrespect intended to anybody posting here, recommending a short scale bass to a 'petite' 10-year old is completely missing the point. Lest we forget. a shortscale bass is basically a full sized instrument that just happens to have a slightly shorter scale length than normal. I used to teach in a number of primary schools, and IME most 10-year-olds could barely cope with a full sized guitar (around 25" scale), never mind a bass - even a shortscale one.

Given the way this type of thread usually goes around here I expect two somewhat divergent schools of thought to emerge fairly quickly. On a more serious note, I originally trained as a guitarist and taught both for many years. I've always advocated making the effort to get some idea what your fellow musicians are doing.

I'm 64 and can't hear anything above around 12k. No clue what age that puts me at, but it does appear to suggest that I shouldn't have spent quite so many hours in front of my cabs at quite such high SPLs.

I've been out of the loop for a few years now, but a couple of thoughts occur to me: 1. If you're running both cabs from a single amp you may encounter situations where balancing the FOH sound with the onstage 'monitor' sound proves tricky; 2. Having the cab on one side of the stage means the audience on the other side won't get the full benefit. Sound is only omnidirectional at extremely low frequencies, and loses projection at higher frequencies (which is where the tonal character of your instrument resides). On a big stage/large venue you may also get some phasing issues that you wouldn't get if you went through the PA. 3. If you get gigs where you have a sound tech, they will have no way of balancing you against the rest of the band. This would also impact on point 1 above. 4. If you ever decide to record gigs, how will you do it? In the short term none of this needs to be a problem of course, but perhaps some things to think about going forward. ETA: If your desk has enough monitor outs, what's wrong with going through the PA and giving yourself your own dedicated bass-only monitor channel? Simple to do and solves pretty much all of the above. With your current setup, it looks a bit like everyone else in the band is working around your requirements. (They may well be happy with it, but all the same...)

I wonder if anybody might be interested in this short series: [url="http://www.bbc.co.uk/programmes/b08h06tq"]http://www.bbc.co.uk/programmes/b08h06tq[/url] I'm just working my way through it ATM. It's a bit technical if physics isn't your thing (although possibly a bit lowbrow if it is ), but may be worth a couple of hours of your time if you want to know more about what's going on when you're strutting your stuff. Unfortunately - for me at least - it doesn't really explore what goes on after the wave hits your cochlea (which for me is by far the most interesting bit).

Just me then. Fair enough. Probably worth mentioning that I don't like these kind of cameos in any kind of dramatic production (although, actually, yes I do understand why they're done). Distracts from the main story IMHO, and rarely if ever serves any plot-related purpose. If it's a walk-on part with no actual speaking then fair enough as it doesn't get in the way. As it was, it broke the flow of the story completely (for me at least). Also worth saying that I don't have anything against the guy or his music. Guess I just have to hope the character either never gets seen again or meets an unpleasant but otherwise anonymous demise. Oh, and no, I don't read the books (close reading for any length of time gives me pounding headaches these days). Why: does Ed Sheeran get mentioned by name?

Curious to know what he was doing in Game of Thrones. Actually that's a tad ambiguous as it leaves open the possibility of a smartarse answer like 'singing, mostly...'. Allow me to rephrase it a little: [size=5]What the f*** was Ed Sheeran doing in Game of Thrones, and who the f*** decided [i]that [/i]was a good idea?[/size] There, that captures it a bit better I think.

Better to find a tone you can work with (you may want more than one but the same basic rule applies). Unless you're a working pro who is known for his/her sound it has a nasty tendency to become both pointlessly elusive and needlessly expensive. I knew a guitarist once who spent most of his spare time and a hefty chunk of his disposable income searching for that Hank Marvin sound over a lengthy period of years. It became an obsession (and not in a good way).

[quote name='mentalextra' timestamp='1500196862' post='3336113'] ... and I was having a giggle at his giggle [/quote]

[quote name='Thunderbird' timestamp='1500157079' post='3336023'] wasn't digging you or anyone else out was just having a bit of giggle �� [/quote] No worries.

Not a fanboy. Don't actually give a toss either way, and since I have no plans to do business with the company any time soon I'm not too sure what I might have to gain from supporting them. Just trying to see both sides of the argument. Having run a business myself I happen to know there's rarely one side to this kind of story. OP has sought to paint himself as the innocent victim of sharp practice, but available evidence would appear to suggest it's not quite that simple and that there's been failures on both sides.

I wasn't going to post again in this thread, but I sense an undercurrent of entitlement here. In case anybody's forgotten amongst all the noise, the payment turned out to have been voluntary and as such I'm tempted to wonder why the OP didn't just say 'well you never told me about that so I'm not paying it' and simply walk out of the shop with his unsold item. Some have argued that he bought a £5000 instrument and so was entitled to a bit of leeway from the vendor. Putting the shoe on the other foot, if he was in a position to spend £5k on a new instrument then what's the beef with paying another £30 for work that had been done on his behalf in an attempt to save him the bother of having to sell his old gear for himself? In business terms, recouping the loss from other commission sales is only as relevant as the vendor makes it. If his business model accounts for it then so be it. If it doesn't then it doesn't, and saying it should is neither here nor there. If you don't like it you can always look for another bass specialist near you who does commission sales... I've said it already and so have others: simply assuming that there will be no charge is, frankly, a bit naive. Yes the dealer should have mentioned it, but what's wrong with asking anyway? Come to think of it, what's wrong with offering even if the dealer doesn't actually ask?