Something like that would go better with the cats at berklee.

RE: Tal bashing, she's playing with Jeff Beck, Vinnie Colutia and you're not. Speaks for itself really.

record me a solo that good and i'll retract the statement.

EDIT: Basically recycles stock funk riffs? have you ever even listened to her?
Quote by slaptasticdave
My goal is to be a touring bassist, those are the classes are I want to take. The education masters would just be so that I could teach if I really wanted to.

I wasn't planning on getting a masters at Berklee.

If you want to be a touring bassist pack your stuff, head to NY/LA and hang with all the cats you can find.

Berklee, or any music school for that matter won't immediately make you into some killer player that will get all the gigs/girls (Delete as applicable) in fact most of the things learnt at the schools can be learnt anywhere with a solid teacher and good self-discipline.

The real benefit of music schools comes from the networking oppurtunities that arise, that way your name as a solid bassist (assuming you are one) gets around and people start to want you to play bass on their demo/album etc.

I seriously wouldn't reccomend dropping the $30k (?!) a year for a Berklee course that wouldn't necessarily be the best school for you to go to. Partly because from what I know Berklee is a jazz based school primarly. Not that there's anything wrong with that but if you're looking at becoming a contemporary pop performer then chances are it wouldn't necessary hone your skills into what you're after.

In my opinion somewhere like the LA music academy would be alot more beneficial to what you're trying to acheive. Tal Wilkenfeld graduated there at age 19, and was playing with Jeff Beck and Vinnie Colutia by 22.
I'm pretty ambivalent to the subject.

I mean the average 16 year old might not be able to make an informed decision, but at the same time they probably wouldn't give a crap about it anyway. So the few that do will be able to.

Also, how many adults are complete morons and still can, and do vote?
With all due respect, it's hardly the best song to set someone off learning slap. I would consider it far too difficult.
Quote by the humanity
Tommy the Cat by Primus. easy riff, a few kinda tricky fills, and a beast of a solo. but you can improvise your own little solo if you want to do the whole song.

Quote by axemanchris
If a label signs a band to a multi-album deal and the band chokes at the release of their first album, then the label has pre-committed themselves to releasing two more (or how ever many else) albums by that artist. The label is then forced to do what they call 'burying' the album - essentially allowing the album to be released, but not going through the effort and expense of promoting and marketing it. Better to lose $25K on the production of an album instead of $1M promoting and marketing an album that won't sell.

It is safer, then, for the label to sign them to a single release to see how it does. If sales meet or exceed expectations, then they'll talk further.


Once again, I can't vouch for your experiences. I'm only relating to what i've seen and heard first hand. It may also vary on the genre and 'marketability' of a band. it may be different stateside but in the UK that's what I believe to go down.
Everytime I hear someone using an EBS amp, i'm always impressed, i'm buying a new setup this christmas, and EBS are at the top of the list. my favourite tone, ever. And also one of my favourite players!
Quote by axemanchris
Most of this is good. I have a couple of problems/questions, though....

I think you branched off into two different planes of thought here. A traditional licencing deal says that the record company (or whoever else wants to licence your material) will pay you a set fee for the right to reproduce your work as they see fit. That set fee may be a lump sum, (ex. $10 000) or may be a percentage of what they are able to sell (say 10%), or a fee based on a per-unit basis. (ex. $1.00 per CD sold). The licensor (in this case, the label) has no ownership of the publishing or anything... they just have the right to duplicate and re-sell as they see fit, subject to the agreed upon terms.

A band signed to the label I worked for had a similair situation to the one I described, I suppose technically it's more of a distrubuting deal. But there's a grey area in between, it's all nomeclature anyway.

My information says that pretty much the opposite is true. If you get signed, you have one shot to go big or go home. If you don't come up with a full house, or at least a three of a kind on your first album.... they ain't gonna give you a nickel more to try again. You're dropped. These things used to be called 'development deals' where a label would let a band go out, put out a first album to get some experience under their belt and to get the name out there, but development deals disappeared ages ago. Now, if you are hugely successful... THEN you have some leverage for negotiating multi-album deals.

Indeed if a band doesn't do well they can be dropped by the label, the point of signing a band to a multi-album deal is that if they do do well with the first album, they're now tied into a contract so they have to make more money for the label.
I obviously can't state for your own experience, but many musicians i've worked with have always stated that a multi-album deal is way more common.
As far as i'm aware, no-one gets single album deals anymore.

What profits, and as defined as how?

If you look at a CD costing $20 and the artist in the end getting $1.00, then yes, there is your 5%, but that is really misleading. It suggests that the label gets the other 95%, which is entirely untrue. The retail store bought that CD for $10 and marked it up 100%. So, the store gets half of that $20. Of the remaining $10, the label will see maybe $4. Of that, $1.00 will be the publishing royalties. You will also get $1.00 worth of publishing royalties. The rest of the money is partly distribution costs, packaging costs, marketing costs, etc.

You can't tell me that you, as an indie label, will have a CD sell in a store for $20, and have the artist get even close to $10. When you say between 20%-50%... your 50% sounds really far-fetched for the more traditional sales routes. I'd put a retail sale in the neighbourhood of 20%.

I would suggest that the artist probably gets closer to 50% if your label sells a CD from their own website where there is no other parties involved to want a cut or to mark it up further for their own purposes.

I (as well as most people) define profits as income less expenses. The store markup is irrelevent in this case, as the money doesn't come to the label anyway.
I didn't claim the artists were getting 50% of the instore price.
Quote by fleajr_1412
To all those who practice their scales, arpeggios, speed etc for about an hour a day or whatever you do, how do you practice them? I'm starting to compose with a friend of mine, and we're really getting serious about it. I'm trying to work on my speed and scale knowledge, but I have no idea how to do it. How do you guys go about practicing? Sorry for the hijack, I thought asking here would be more appropriate than wasting bandwidth and starting a new thread.

Do EVERYTHING to a metronome, even when noodling it helps. Practice all your excersies at the highest speed you can play them 100% accurately, then gradually work your way up.

Also, try and make everything musical and contextualize it. That is, don't make it sound like a mindless excersie all the time, try to alter it. As for context, try to play a musical riff/passage/phrase/whatever with whatever your practicing.
Quote by quicksilver25
I understand what your saying but I disagree thats like saying to practice playing basketball you have to be running plays and playing defense and shooting jumpers is dickin around.
It depends on how you play whatever you want it you're literally just playing whatever comes to mind then yeah thats not the best of what to do. If you're playing something and trying to perfect it, taking notice of everything then thats practicing.

I practice maybe for an hour a day on a good day, but most days its a half hour, and I try to focus on something different each day.

I think I could have probably worded that better, but my point was about having a clear structure for what you want to do, and actively trying to improve it. Rather than just simply playing.

And to anarkee, the jazz stuff is killer! I started working on walking basslines on wednesday, i'm terrible at them! I've been hammering out my arpeggio practice this week in an attempt to improve.

There was a brilliant quote on a Nathan East DVD I have when the interviewer asked him about practicing.

He remarked: "If I don't practice for a day, I notice it. If I don't practice for a few days, the band notice it. If I don't practice for a week, the audience notice. You don't want to get to that level"
How often each day do you really sit down and work on: (for example) sight reading, scales, arpeggios, technique excersies, ear training, genre/music study and many more?

If you grab your bass and play whatever you feel like that, that's not strictly practicing, that's just jacking off.

I feel, with two hours a day of practicing all the above, I'm practicing enough; but i'd like to practice more. I just feel burnt out after that much, how does everyone else approach their own practicing?
I think there's a gross unawareness of what it takes to be a professional musician, espicially with some of the younger members.

A talkbass member spent a week on a berklee summer course, the whole thread can be found here but one of the key quotes was this:

"Someone asked Shane how much he practices, and Jim stepped in and said, "Shane, I'm going to rephrase that question a bit. Do you practice more than 2 hours a day?"

Shane said, "Yes."

Jim said, "Do you practice more than 3 hours a day?"

Shane grinned a little and said, "Yup."

Jim asked, "Do you practice more than 5 hours a day?"

Shane said, "Yes, I do."

Then Jim asked, "Shane, how much do you practice?"

And Shane said, "I practice between 7-8 hours a day [on upright]."

The audience was a bit taken aback, but Jim said something I will never forget:

"Folks, we need to stop the clinic here for a second so I can go over something very important with you. What Shane does is not unusual for someone who wants to play at a professional level. This is what it takes to be an expert at something - anything. Practice is how you get better, and how you maintain your level once you're there. If you're not willing to practice several hours every day, you need to seriously consider if music is the right career for you.""

I think that should really say it all for anyone who wants to be a professional musician.
That said, I usually manage to squeeze in 2 hours of PRACTICE (not playing) a day as well as several ensemble practices a week as well. I also take regular lessons and work on a myraid of styles and techniques. I feel that I can succeed with my playing, but only time will tell.
I worked for an independant record label ( for a few months, so I think I can clarifiry some of the rumours of the industry.

The difference between the independents and the majors are huge, and completely different arrangements occur.

Sometimes a band will only be signed to a liscencing deal, what this means is the band will pay for most of their own stuff (the recording itself, merch, etc.) the label will then produce, advertise (see all those ads in the music magazines? most of them are done by labels) and distribute your music. it's then up to you to tour and sell as much stuff as you can. If all goes well, everyone makes money. The label will take profit on pretty much anything they themselves are involved with.

A full blown recording deal is slightly different, usually a band is given an advance (i.e. a loan of cash) to spend on recording the album and all other costs, the label will then usually do the same advertising/promotion and sometimes helped to book a tour. The band will then do the same thing, tour and sell as much as possible to try and make money for everyone.

Usually the first album makes no money whatsoever, it's all spent on promoting the band and getting the name out there. The second album, now the band are established, will usually draw in the cash. This is why no-one get's signed to a one-album deal unless they're already hugely successful.

The main difference between the independents and majors is down to money, a major will be able to offer a bigger advance (but remember this is a loan anyway), better promotion and better tours (if you want to support a large touring band, prepeare to reach for your wallet, this is known as a 'buy-on') but the downside is they'll offer you less of the profits.

An indepenent will offer between 20-50% of the profits, a major? 5-10% if you're lucky.
I agree with everything anarkee says.

Not only does a teacher help to get your playing better. A good teacher provides endless inspiration.

I currently take lessons from arguably one of the best bassists in the UK, Steve Lawson ( apart from opening my mind to new styles and techniques, getting me thinking outside of my comfort zone with playing and knowing seemingly anything about what I ask him about; i'm also consistently both amazed and inspired by going to him.

After the lesson finishes I'm just desperate to get back and start playing.

In short, find a teacher, it's a good idea.
The Sansamp is a tube-emulating DI, meaning that it won't exactly send the pure DI'd sound of your bass.

In terms of clean DI's the Avalon U5 is often regarded as one of the highest quality around sending a pure bass/preamp signal to the house. Maybe too pricey though, depends on budget.
Meat Loaf

Gene Hoglan

Chris Burney

Yeah, you're right.
Quote by Caustic
Good luck finding a Rick copy. Rickenbacker have basically resurrected Torquemada to hunt down copies of their instruments, and burn anyone selling them at the stake.

Luckily for us, rics power over this extends to the US only as far as i'm aware.
I played a tokai rockinbetter priced at £250, it was definately a solid instrument and well worth the money, it definately had a ric-esque sound to it. But obviously doesn't compare to a real rickenbacker.
I played one of those once,just out of curiosity more than anything else. It's a terrible instrument in every sense of the word, the massive headstock + light body make it neck dive a fair bit, and the tone is bland as anything, the neck was also hideously unwieldy.

They're dean's way of marketing to 14 year old Slayer fanboys who think the quality of a bass can be judged by the number of the ways it could be used to injure someone.

As Teh_asian_pro said, check out Ibanez basses, I suppose they still have 'metal' stylings about them, but they're actually decent basses.
Quote by ChemicalFire
Sweeping on bass?

I've heard it CAN be done, but I don't think it would sound too good.

It's something i've been working on for the last few months, i've gotten one sweep pattern down pretty solid, it can sound pretty good if placed right. The king of it on the bass is Adam Nitti however... yeah...

What I've been finding very helpful in terms of approaching playing the bass in a purely melodic context is to study other instruments such as guitar and piano and see how they work with it, I think Jaco said something along those lines in an interview in that studying other bass players for solo/melodic ideas is not overly useful just because of th e role bass plays most of the time.

What i've also been doing is experiment with different scale phrasing, try and think outside the box of usual patterns you have memorized. Alongside this try improvising along with a drummer/drum machie you'll find that it usually helps facilitate new ideas.

EDIT: Also, try using purely clean sounds to start off with, that way you can't be fooled into thinking something is a good phrase/solo but infact all your working with is a cool sound.
Hey guys, i'm looking for a new PS3 game, no particularly genre preference, just something good. I currently have:

Ratchet and Clank: tools of destruction

Anyone got any reccomendations? I was considering burnout paradise perhaps...
Quote by |Heretic|
If you use a PA system aswell that shouldn't be a problem. And you should be using a PA system for all of your instruments (bar maybe drums, although if you have a bass drum mic you should mic that.) and vocals.

Thats just for pubs and small venues though.

Note: guitarists shouldn't need anything above 50w solid state either (with PA system), and if they think they do you may hit them round the head with the nearest object.

As much as that would suffice, the unfortunate reality is MANY clubs/bars feature only a vocal/drum PA lending the bands backline to provide all the support. And then it goes horribly wrong, plus I still doubt that amps ability at comfortable stage volumes, it'd have no headroom at all.
The only I would have with this, as fitz said, is the power output. I don't think 125w is anywhere near enough you'll need to gig happily.
Mesa MPULSE 600 as far as I can tell.
Quote by burgurhead1812
my cousins boyfriend has one and he let me use it for a little bit and i honestly didnt love it. like it was fun and all but i didnt find the need for the chorus effect it creates since you rarely use like chords on bass. RHCP sounded pretty cool on it but then i tried some zeppelin and i didnt like the way it sounded. i guess it depends on what your gonna play.

I think JPJ would disagree with you there.

I played a dean one once, can't remember the model it had EMG-HZ pickups though, that was quite nice.
I think medals are in order.
Quote by Kiffa
I can see what you mean, but it's really harsh to say "you can have some money, but your buddy can't because of his background" I think the moto "No child left behind" works here, it's basically playing favourites, and I've never been a fan of that game.

You could call it playing favourites, you could call it doing the most you can. I think we'll have to agree to disagree on this.
Quote by Kiffa
Yeh, I know, but it's sad that the deciding factor is how much the parents earn without taking into account the family size, so basically it should be either everyone gets it, or nobody does.

I agree that not taking into account the family size is a definate flaw in the system.

I'd imagine if the government could, they would give everyone £30 a week for going to college. Unfortunately that can't be done it would seem.

I don't agree with the 'all or nothing' approach, might as well help some people than none just in the interests of being 'fair'.
Quote by Kiffa
I agree up until the last part, I think everyone deserves this money, it's not like if your parents earn a comfortable living you don't need incentive to go to further education, I could have explained better, but I am very tired.

Maybe, but Iwhat about government budgets for this sort've thing? They don't have an unlimited budget do deal with, they have to draw the line somewhere unfortunately.
I think people are ignoring the social side of the whole issue here.

As people have said, I lot of the time it is an incentive for people to come to college and learn, remember attendance has to be perfect each week or it's not given.

Myself, I live in a council house, parents are divorced blah, blah. Having said all of that I live a relatively comfortable existence, but I still get £30 a week EMA, as well has having a job which I work 2/3 days a week as well. So overall I have a lot of disposable income.

I find the EMA has actually helped me turn up to college as a incentive, I can tell you now if I wasn't receiving it I would have probably failed this year without a doubt. And have worked a hell of a lot harder than I would've without it. So for me, it's a successful decision.

Alot of people here just seem to be bitter about not getting it, just jealous of people who do. Life's unfair, deal with it.
False nails for nylon strings?
E 0-0--5-------0-0--5------------------|

Sounds about right to me, all half step down and all slapped.
Are you honestly that greedy that you would sell SOMEONE ELSES property just because they haven't collected it in a few months?

Give it up man.
Quote by babyboo666
NO. First off, it would sound terrible.

Secondly, it wouldn't work. The MG cab can only work with the MG head.

That is a lie, don't listen to that advice.

It will work fine, might not sound particularly good. But it will work.
Formed in the San Fran bay area in 2001, Arnocorps set out to restore integrity to the tales of Austrian folklore and mythology that a Mr. A. Schwarzenegger and his co-conspirators used for cinematic exploitation!

Known to themselves as the greatest band of all time, Arnocorps bring action-adventure hardcore rock and roll to the UK this July!

Hello my child. What is your name?
I am always glad to make new friends, Allah.
What do you think of Islam?
Religion founded by Mohammed.
is it good?
What is so good about it?
Are they exactly the same?
That's what I thought.

So someone has a different opinion to you.

Good to know.
For what it's worth I consider TB to be way better in terms of honest opinions rather than here.

if you're not playing a jazz bass through an ashdown or carvin you might as well be ostracized from the UG community.

And i'm aware I play a jazz bass, and used to use an ashdown.

Sounds good man, pics asap!