KaosCill8r wrote:I've been there dude. Jammed with a bass player a couple of months ago. He knew where the frets were ok. But I was telling him what key signature and what intervals to play in that key. He looked at me puzzled. Is it too much to ask that a bass player knows just basic theory? In the end I just had to show him what to play just not to waste the day completely.
I took a theory class once. learned it fairly well. I've forgotten all of that. I can generally listen to something and play it, sometimes I need it shown to me but mostly I just do it. I kick myself for not keeping up with it. It'd be nice to be able to speak music when writing.
Band=InfiniteFluxFlux on Bandcamp
"Ingenuity comes in the face of adversity, and nobody ever becomes a legend by following the rules set by society" -A.A.
KaosCill8r wrote:I've been there dude. Jammed with a bass player a couple of months ago. He knew where the frets were ok. But I was telling him what key signature and what intervals to play in that key. He looked at me puzzled. Is it too much to ask that a bass player knows just basic theory? In the end I just had to show him what to play just not to waste the day completely.
I took a theory class once. learned it fairly well. I've forgotten all of that. I can generally listen to something and play it, sometimes I need it shown to me but mostly I just do it. I kick myself for not keeping up with it. It'd be nice to be able to speak music when writing.
Theory is good to know, but also good to know and throw out the window when writing. I have studied a lot of music theory as well as a lot of sound production. The irony is that I make a lot of music using lo-fi recording techniques and also using chords and scale intervals that are dissonant. It is great to know and break all the rules you have learned.
SLK I'm with you on throwing that shit out, it's been deleted from memory for a long time now haha. Even intervals and keys, and those might be usefull to brush up on just for conversational purposes. I feel extra stupid talking to drummers as I apparently wander into some odd times but I have no idea what they are or really that i'm doing it uniti it gets pointed out. probably also why putting fake drums into tracks used to be such a bitch.
Band=InfiniteFluxFlux on Bandcamp
"Ingenuity comes in the face of adversity, and nobody ever becomes a legend by following the rules set by society" -A.A.
The thing about talking music is that whatever form you do it in has to be a two way street. There's some Tom Waits record (Rain Dogs, I think) where Keith Richards came in to play and Waits explained how he wanted the part to sound by dancing at him. The important thing isn't the dancing, but the fact that Richards was able to get the idea.
And also, you have to be able to listen. You can know all the theory in the world and play the completely wrong part because you're not thinking about it aesthetically, you're thinking about it technically.
speaking of drummers i just has to send this text to mine. . .
" your floor tom just sat down like a damn dog while i was playing bass at punish volume. a leg bracket fell out : | bolts are undone from the inside like, i feel really bad but im laughing my fuckin ass off"
"ill buy you loctite"
good deals with Noise. . .guitmatt, magiclawnchair, delaydecay, Fuzz_Pi, nixhex113, theAntihero, Ancient Astronaught, bigchiefbc, jwojtysiak, neonblack, osbornkt
I learned all my theory in school, then dropped most of it and just played heavy music. I find it similar to what people used to say about jazz when I played trumpet in high school. You learn the rules until they're second nature, so you can forget them and play by instinct. It's good for developing your ear and giving you a strong foundation of what "feels right".
Joe Gress wrote:Lol and I'm sitting here like, I'm a bass player that knows theory and has a bit of ability, but no one that I know wants to play doom...
I feel ya there buddy. It's flattering to get compliments from cool dudes on forums and Facebook, about how if only we lived near each other we could rock so much. It's just too bad no one within a 2 hour driving distance thinks so.
neonblack wrote:I hate showing up to jam and seeing the guitarists concerned confused looks at my pedalboard. And hell, its just a few dirt pedals and an octave. But inevitably, the phrase I dread hearing the most happens:
It was just such a huge shame, made me miss playing with anyone else ever I played with. Any band I jumped in on with playing bass, all i needed was the tuning they were in and I just picked up the song as we went, 2nd time round I had it down by watching the guitar player, and by the 3rd time I'm adding stuff to it. if it's something from scratch oh all types of shit would come to me. it's like okay this is the root but I can do all this other bullshit and it'll sound even more amazing so I did.
drummingwise it was always easy I could play even with mediocre as fucking guitarists that would at least hold a time or could follow one I laid out.
I was thinking I was expecting too much and then I thought no... I've jammed with hundreds of people even to just kill time... this was just ass.
I actually did ask if the guy could hear me alright behind the drumkit. I was running 3 half stacks. two sunn concert leads and an ampeg ss150. Neither guy wore ear plugs, but said after the first note I hit that they couldn't hear too well after that since I blew out their ear drums. I told them both a dozen times they are going to want some ear plugs. which they both were like.. oh really? I finally said are you sure you don't want any? then proceeded to make their heads melt. maybe that's the problem I deafened both of them immediately and they couldn't do shit thereafter.
fuck it whatever this morning I went to my shed and wiped down everything they touched and then recorded 2 songs for a split.
D.o.S. wrote:The thing about talking music is that whatever form you do it in has to be a two way street. There's some Tom Waits record (Rain Dogs, I think) where Keith Richards came in to play and Waits explained how he wanted the part to sound by dancing at him. The important thing isn't the dancing, but the fact that Richards was able to get the idea..
I now have an image of Matt Pike dancing the intro to Dragonaut to Al...and Al understanding Matt through the power of his dance...
Anyone use a treble booster before their fuzz? Good results or nay?
samzadgan wrote:You could come back and Matt Pike actually played classical guitar and studied really hard, didn't drink or smoke, and was now high paid Lawyer who spend most of his free time on TGP talking about how much his Les Paul weighs and how that makes the tone better than a Les Paul that weighs 0.05lb less.
new05002 wrote:I heard it does not work for kids who dont like black sabbath and sleep so there you go.