From: whale@leland.Stanford.EDU (Stephen Schmidt)
Subject: Re: Small amps/music theory
Organization: DSG, Stanford University, CA 94305, USA
Date: Sat, 22 Aug 92 06:32:08 GMT

In article <BtDEvB.30J@world.std.com> mlaurenc@world.std.com (Matt Laurence) writes:

>1) I am looking for a small practice amp. When I say small, I mean less than
>18 inches all around (plus or minus) and less than about 35 pounds. I used
>a Gorilla briefly, and if I had turned my volume up above 3 it would have
>blown... not a good bass practice/small gig amp, let me assure you. After all
>the trouble I've heard about GK lately, I'm shying away from those... anything
>else that would function as a portable practice and small show amp?

I have a Crate B-20, which is almost but not quite up to each of these
specs. It's maybe 24x16x10, weighs about 40 pounds, and isn't quite loud
enough (20 watts) to use with a drummer, unless you don't mind it distorting
a bit. It's reasonably portable although its handle isn't very good, and it's
a nice practice amp. They are, at least, cheap and easy to find (or were
when I bought it). Check it out, it's probably not what you're looking for
but it'll do.
>
>2) What do people recommend as the best way to learn music theory, especially
>as it pertains to bass?

Pretty much every theory book I've ever seen has been about the same. The
basic information is all kinda there, and it's never very exciting. If you
can remember your piano lessons, much more theory is written with piano in
mind that with bass in mind.
The theory sections in the book "Electric Bass Guitar" which is published
by Hal Leonard are pretty good, as they should be: it is a collection of
the old bass guitar columns in Guitar Player magazine (this was BBP: Before
Bass Player magazine).
Best thing to learn is scales, although I'm sure that's not what you wanted
to hear :(  and equally important, which scales go with which chords. Learning
how chords move in sequence and how keys modulate is probably good. However,
unless you're a serious jazz player you'll probably never use very much
theory.
>
>Ok, let's add a third:
>
>3) How about perfect pitch? Some lucky few (like my band's drummer, of all
>people) are born with it. Most of us aren't. You've probably all noticed
>the ads in Bass Player (and other music mags) for that taped course of
>attaining Perfect Pitch no matter what. Well, first of all, does anyone know
>if this whole concept is feasible as they present it? Better yet, has anyone
>actually tried it or used it and had success? I'm sorely tempted (the 
>hundreds of testimonials they give make it sound wonderful, but the power
>of advertising is disgustingly strong - I'd rather hear it from a real
>live person - albeit over e-mail)

One of my theory teachers said the only way to get it was this: every time
you pass a piano, hum an A to yourself and then play A on the piano and see
how close you are. The key is, EVERY time. After you can get A, start on the
other notes.
Another thing you can do is find some song you know very well and make a note
of what note it starts on. I can always remember that Money by Pink Floyd
starts on B and I can get an A from that.
This is also a good way to learn intervals: think of a song who's first two
notes are the given interval. Beethoven's Fifth for a falling minor third,
etc.
>
>And while we're at it, does anyone know where a body could pick up a
>Modulus fretted 5-string for under $1500 (as far under as possible, 
>obviously)? And what are the general feelings on Kubicki Factors?

Factors are some butt-ugly basses. Never played one, that's how ugly they
are. I hear they're nice though.
-- 
Steve Schmidt			<><		   whale@leland.stanford.edu

"We have met the enemy and he is us" - Walt Kelly
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