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 Post subject: Music Geek UPDATE - I bought a bass
PostPosted: Thu Apr 14, 2005 11:09 am 
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British Press Hype
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Frist off, I wanted to thank those of you who gave me advice about getting a bass. It's great to be able to get advice from people you trust so easily.

Anyway, after spending more time at work researching basses than actually working (it's been slow lately, so I don't feel that bad), I ordered an SX J bass copy from Rondo music. [url](http://www.rondomusic.net/sjb62tm3ts.html)[/url]. People on the Harmony Central forums had great things to say about it - it was always recommended as a great option for a cheap bass, and said to be of the same quality as a MIM Fender. And for $130 (I know free trade can be bad, but sometimes it's sooo good!)new, I figured it was worth a shot, even though I couldn't play it beforehand. Anyway, it came yesterday, and I'm really happy with it. It looks great and plays nice. The only thing I noticed is that the strings buzz a little when I play, but it doesn't come through the amp.

As for an amp, I'm gonna take my time. I'm using my guitar amp for practice (I know, it's not recommended, but I have close neighbors so I have to keep it quiet anyway). But eventually I'll want something that will keep up with a band. KPH and epa both recommended things they said were "almost loud enough for a band," so I'm not sure if that's the way I should go.

For right now, I'm gonna invest in a book or two (any recommendations?) and learn the things I should have learned on guitar long ago- all the notes on the fretboard, more scales, and some theory. When I feel more confident in my playing, I'll get serious about finding an amp and find some people to play with.



Image[/i]


Last edited by nacho on Thu Apr 21, 2005 5:35 pm, edited 1 time in total.

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PostPosted: Thu Apr 14, 2005 11:13 am 
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Big in Australia
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I've always liked Jazz Basses. Even more than Precisions. They've just got a cool, mellow tone and are more versatile.

Nice (b)ass.

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PostPosted: Thu Apr 14, 2005 11:28 am 
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Go Platinum
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sweet man.

the way I reccomend learning to play bass to all beginners is as follows.

Step 1: Purchase a copy (if you already do not own it which you should anyways, what do you mean you don't have it, you freakin' loser) of the first Ramones album.

Step 2: Play the album, pan the speakers to one side so that you are only hearing the bass. Every song has 3-4 notes, most are fairly low and they are easy to play, you just gotta get the timing right. just futz around for a few hours on it and you'll get it.

Step 3: once you figure out the song, pan the speakers to the other side and play along...instant punk rock.

that's all you'll ever need.

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PostPosted: Thu Apr 14, 2005 11:40 am 
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Death To Shoegaze666 Wrote:
sweet man.

the way I reccomend learning to play bass to all beginners is as follows.

Step 1: Purchase a copy (if you already do not own it which you should anyways, what do you mean you don't have it, you freakin' loser) of the first Ramones album.

Step 2: Play the album, pan the speakers to one side so that you are only hearing the bass. Every song has 3-4 notes, most are fairly low and they are easy to play, you just gotta get the timing right. just futz around for a few hours on it and you'll get it.

Step 3: once you figure out the song, pan the speakers to the other side and play along...instant punk rock.

that's all you'll ever need.


This is actually how I figured out a ton of stuff on guitar- I'd listen for the bassline, and then follow along with the right chords. It's the easiest place to start.

I'm good at figuring things out (though sometimes I get lazy and just look for a tab), but I'd like to get better at writing stuff on my own. Without knowing the notes and everything I'm actually playing, etc, I feel like I'm playing blind.


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PostPosted: Thu Apr 14, 2005 11:53 am 
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Big in Australia
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And remember, you're playing BASS, not guitar.
The pocket is EVERYTHING.

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Paul Caporino of M.O.T.O. Wrote:
I've recently noticed that all the unfortunate events in the lives of blues singers all seem to rhyme... I think all these tragedies could be avoided with a good rhyming dictionary.


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PostPosted: Thu Apr 14, 2005 12:03 pm 
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PopTodd Wrote:
And remember, you're playing BASS, not guitar.
The pocket is EVERYTHING.


I know this has to do with the drummer, but can you explain this more?


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PostPosted: Thu Apr 14, 2005 12:50 pm 
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Big in Australia
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Nacho Wrote:
PopTodd Wrote:
And remember, you're playing BASS, not guitar.
The pocket is EVERYTHING.


I know this has to do with the drummer, but can you explain this more?


It's all about feel... tough to explain.
But the main thing to lock in on is the KICK drum.
That doesn't mean you play only when the kick plays, but certainly try to have the same accents.

That said, it's really not that academic. Like I said before... it's a FEEL.
You got to make it
G R O O V E!!!!!!!!

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Paul Caporino of M.O.T.O. Wrote:
I've recently noticed that all the unfortunate events in the lives of blues singers all seem to rhyme... I think all these tragedies could be avoided with a good rhyming dictionary.


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PostPosted: Thu Apr 14, 2005 1:54 pm 
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That string buzz isn't a big deal if it's slight. Usually it will diminish pretty quickly as the strings get less "new," too. If it does get bad, a truss rod adjustment or string saddle height adj is in order. But probably not.

Play along with music. It's easier, to me, than reading about it. Imitate what you hear, and listen to different kinds of things. Punk is easy, country is easy, etc etc. But the general rule of thumb is that if YOU like it, then you'll be motivated enough to firgure it out.

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PostPosted: Thu Apr 14, 2005 2:46 pm 
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I think this is the DVD I have
http://www.samash.com/images/items/902598.jpg

It's kinda cheese and I'm sure I could get something out of it but I never practice.

Nice lookin' bass!

Speaking of the EPA, I did a 2 year stint in the Region 5 Water Division NPDES Programs Branch before leaving for grad school where I'm at now. I didn't know there was another EPA person in the ranks.


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PostPosted: Thu Apr 14, 2005 2:52 pm 
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[quote="geoduck"]I think this is the DVD I have
http://www.samash.com/images/items/902598.jpg


Last edited by nacho on Thu Apr 21, 2005 5:34 pm, edited 1 time in total.

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PostPosted: Thu Apr 14, 2005 6:22 pm 
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frostingspoon
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epa = my initials.

this book has great fundamentals...
http://www.shermusic.com/tibm.htm

Great DVD
http://www.activemusician.com/market/it ... 905699.asp

and the book it was spawned from
http://www.jazzutopia.com/bevolvgm.htm

The cool thing about Chuck Sher and Rufus Reid is that they're actual teachers. They really do take it from square one and build in a logical, sequential manner. And they're bad asses on the bass. Alot of times you'll get instructional materials that are so watered down that they're stupid. Or the converse, where it's some hot ass player who can't teach for shit and won't slow shit down, and then they'll blow through some mind blowing riff as easy as a newborn shits it's diapers and then they expect you to do the same, without any pauses for you to figure it out.

As far as the pocket, i think it's really easy to define. You just have to keep in mind that sound is temporal, so all notes have a beginning, last for a duration, and then have an end. Any country album (traditional, alt., pop, etc...) will have good examples of the simplest kind of pocket. The bass hits exactly when the kick drum hits, and the note is muted just a hair before the snare hit, creating a vacuum in which the snare can just crack and exist on it's own. Funk is just a busier pocket, but with the same effect, just not on every snare hit. Rock can have a similar pocket to country, but can also be very connected and leave no space for the snare. Etc... ad nauseum.

Every genre has a pocket that is defined by when the note begins and when it ends, and every genre has a pre-established vocabulary of style that is dictated in part by the great recordings of that genre, so you have to listen and emulate. Then you incorporate that vocabulary by first exaggerating it, then refining it. Learn it slow, speed it up, figure out whether you should shape/end the note with your left or right hand (hard to do with your right hand if it's holding a pick).

Does that help, or does it just confuse the issue?

-Phil

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PostPosted: Thu Apr 14, 2005 9:59 pm 
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epa Wrote:
epa = my initials.

this book has great fundamentals...
http://www.shermusic.com/tibm.htm

Great DVD
http://www.activemusician.com/market/it ... 905699.asp

and the book it was spawned from
http://www.jazzutopia.com/bevolvgm.htm

The cool thing about Chuck Sher and Rufus Reid is that they're actual teachers. They really do take it from square one and build in a logical, sequential manner. And they're bad asses on the bass. Alot of times you'll get instructional materials that are so watered down that they're stupid. Or the converse, where it's some hot ass player who can't teach for shit and won't slow shit down, and then they'll blow through some mind blowing riff as easy as a newborn shits it's diapers and then they expect you to do the same, without any pauses for you to figure it out.

As far as the pocket, i think it's really easy to define. You just have to keep in mind that sound is temporal, so all notes have a beginning, last for a duration, and then have an end. Any country album (traditional, alt., pop, etc...) will have good examples of the simplest kind of pocket. The bass hits exactly when the kick drum hits, and the note is muted just a hair before the snare hit, creating a vacuum in which the snare can just crack and exist on it's own. Funk is just a busier pocket, but with the same effect, just not on every snare hit. Rock can have a similar pocket to country, but can also be very connected and leave no space for the snare. Etc... ad nauseum.

Every genre has a pocket that is defined by when the note begins and when it ends, and every genre has a pre-established vocabulary of style that is dictated in part by the great recordings of that genre, so you have to listen and emulate. Then you incorporate that vocabulary by first exaggerating it, then refining it. Learn it slow, speed it up, figure out whether you should shape/end the note with your left or right hand (hard to do with your right hand if it's holding a pick).

Does that help, or does it just confuse the issue?

-Phil


nicely put I would say....hell I think I am going to pick up those books

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PostPosted: Thu Apr 14, 2005 10:41 pm 
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PostPosted: Thu Apr 14, 2005 10:46 pm 
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frostingspoon
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Lambchop Wrote:
epa Wrote:
epa = my initials.

this book has great fundamentals...
http://www.shermusic.com/tibm.htm

Great DVD
http://www.activemusician.com/market/it ... 905699.asp

and the book it was spawned from
http://www.jazzutopia.com/bevolvgm.htm

The cool thing about Chuck Sher and Rufus Reid is that they're actual teachers. They really do take it from square one and build in a logical, sequential manner. And they're bad asses on the bass. Alot of times you'll get instructional materials that are so watered down that they're stupid. Or the converse, where it's some hot ass player who can't teach for shit and won't slow shit down, and then they'll blow through some mind blowing riff as easy as a newborn shits it's diapers and then they expect you to do the same, without any pauses for you to figure it out.

As far as the pocket, i think it's really easy to define. You just have to keep in mind that sound is temporal, so all notes have a beginning, last for a duration, and then have an end. Any country album (traditional, alt., pop, etc...) will have good examples of the simplest kind of pocket. The bass hits exactly when the kick drum hits, and the note is muted just a hair before the snare hit, creating a vacuum in which the snare can just crack and exist on it's own. Funk is just a busier pocket, but with the same effect, just not on every snare hit. Rock can have a similar pocket to country, but can also be very connected and leave no space for the snare. Etc... ad nauseum.

Every genre has a pocket that is defined by when the note begins and when it ends, and every genre has a pre-established vocabulary of style that is dictated in part by the great recordings of that genre, so you have to listen and emulate. Then you incorporate that vocabulary by first exaggerating it, then refining it. Learn it slow, speed it up, figure out whether you should shape/end the note with your left or right hand (hard to do with your right hand if it's holding a pick).

Does that help, or does it just confuse the issue?

-Phil


nicely put I would say....hell I think I am going to pick up those books


dig it. just don't lend them out, you'll never get them back.

_________________
Flying Rabbit Wrote:
I don't eat it every morning, I do however, pull it out sometimes.


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PostPosted: Thu Apr 14, 2005 10:47 pm 
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frostingspoon

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can't believe no one made a fish joke earlier

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