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Learning vs Acquisition by Franz Vitulli

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In this first article of mine I would like to express some ideas I developed through the years, having been a student, having attended classes with more than one teacher, being actually a teacher myself since I graduated at the academy where I’ve studied the electric bass and being a senior student for an MA in General and Applied Linguistics.

It is really amazing to realize how similar could be the human approach when you learn/teach music and when you learn/teach a second language. Maybe scientists would say that music and language activate the same areas of our brains, I don’t know, but it wouldn’t surprise me.

So, here’s the thing…  I borrowed this idea from the Second Language Acquisitional Theory and tried to apply it within my music lessons. It’s all about the crucial distinction between learning and acquisition. Acquisition is a painless process: like a child, who unconsciously works on grammar just hearing the language all around him, it is possible – with some obvious limitations – that a grown man acquires a language e.g. working on a building site when he just left his country and moved to a richer land. Could this situation be compared with a self-taught musician who tries to master his instrument by hearing what his heroes do on his favourite records/Spotify songs/Youtube videos? My answer is “Yes!”

Learning, on the other hand, is basically what a man gets in a formal environment, e.g. in a classroom. It involves a specific work on rules and results in a conscious knowledge “about” the language (or music).

Some linguists who have been working on this field have stated that the grown man on the building site will be able to communicate much sooner than a man who attends a traditional language class, but in the long run the student will reach a higher level of proficiency. I strongly believe that this statement can be applied in music: a punk self-taught bass player will learn how to play his favourite songs roughly but very quickly, sitting down with his bass and jam along the song until he finds the right notes or reading a tab found on the web, while a student usually needs some time to get confident with chords and scales before he’s ready to play music with others. And while most of the self-taughts keep playing with this routine (I want to play this song, then I somehow look for the right notes and play the song), the traditionally educated musicians have more chances to reach a higher level. Please don’t misunderstand this point, music history is full of talented musicians who dominate their years without having attended a single lesson, but they surely have spent time studying and practicing consciously.

In my humble opinion the key is to merge the two approaches and get the best results from each one, and it shouldn’t be so hard for a modern musician. Spending time and money with a teacher is necessary, but you have to know when it’s time to change teacher or to keep practicing on your own. The “acquisitional teacher” has the duty to allow his student to enjoy the benefits of the self-taught players, where “teaching” and “guiding the unconscious process of acquisition” are synonyms. He has to let him discover things without overwhelming him with notions and theoretical constructs that he’s still not able to understand, notice when it’s time to introduce new topics (acquisition is a sequential process!), avoid persevering with an error correction/detection approach but using the recast (playing an arpeggio, or a scale, or a melodic phrase the student didn’t play properly, until he realizes his mistake) and turn the lesson environment from formal into informal, spending the last 15 minutes of the lesson jamming with the student in order to check if he’s able to apply autonomously, spontaneously and unexpectedly (= he has acquired) the stuff he’s studying.

If you are a teacher and spend the class time just explaining concepts, welcome to the internet era: your students might find way more than you can teach him on Youtube videos, websites, ebooks, not to mention the regular books, etc., but this approach doesn’t work at all, and if it worked, there would be no reasons to keep teaching music at any level. If you are a student and your teacher talks, and talks, and talks, just don’t say “Yes, yes, I got it” but stop him anytime you need a clarification and let him know that you need time to process the information he’s giving to you. If he keeps talking about rules and at the end of the lesson your mind is about to blow – in my opinion – just do yourself a favor, go to another teacher.

So the responsibiity of a successful lesson is both of the teacher and of the student. The goal of the lessons must be the acquisition of the necessary skills to be able to play music, not just the knowledge of music. And make sure that you are always investing your time in the best way possible.

I would really like to hear your thoughts about this, so please comment, tweet this article, share it on your Facebook wall and tell your friends about it!

Franz

Bass Videos

Interview With K3 Sisters Band

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Interview With K3 Sisters Band

K3 Sisters Band Interview…

It is very rare when I talk to a band where all the members play bass. The K3 Sisters Band is a perfect example of a group where Kaylen, Kelsey and Kristen Kassab are all multi-instrumentalists and take turns playing bass.

Hailing from Texas, these three sisters have been playing music since they were very young and have amassed an amazing amount of original music,  music videos, streaming concerts, podcasts, and content that has taken numerous social media platforms by storm. On TikTok alone, they have over 2.5 million followers and more than a billion views.

Join me as we hear the story of their musical journey, how they get their sound, and the fundamental principles behind these prolific musicians.

Here is the K3 Sisters Band!

Photo, Bruce Ray Productions

Follow Online:

k3sistersband.com/
TikTok
YouTube
Instagram
Facebook 

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Bass Player Health

What is a Pinched Nerve? with Dr. Randy Kertz

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Dr Randal Kertz - Bass Player Health - Oct 2022

What is a Pinched Nerve?

In this month’s video, we will cover how to tell if you have a pinched nerve and when to seek professional help.

Dr. Randall Kertz is the author of The Bassist’s Complete Guide to Injury Management, Prevention and Better Health. Click here to get your copy today!

The Bassist’s Complete Guide to Injury Management, Prevention & Better Health

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This Week’s Top 10 Basses on Instagram

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TOP 10 Basses of the week

Check out our top 10 favorite basses on Instagram this week…

Click to follow Bass Musician on Instagram @bassmusicianmag

FEATURED @colibriguitars @adamovicbasses @brooksbassguitars @lecomptebass @mgbassguitars @mauriziouberbasses @jcrluthier @biarnel @officialibanezguitars @chris_seldon_guitars

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Gear News

New Gear:  Ashdown ORIGINAL-EVO-C112T-300

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New Gear:  Ashdown ORIGINAL-EVO-C112T-300

Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
 
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.

Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
 
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.

Designed to accommodate global touring, the Original-EVO-C112T features auto-protect voltage support and an adaptive temperature-controlled fan for optimal performance in any environment.
 
In summary, the Original-EVO-C112T is a game-changing amplifier that combines power, portability, and precision. It’s a testament to innovation and quality in the world of bass amplification, deserving attention from musicians looking to take their music to the next level.

Product Specification-

Power Output: 300 Watts
Power Requirement: 115-230 Volts
Speaker Configuration: 1 x 12” + Horn
High Instrument Input: Impedance 3.9m Ohms, Input range 150mV – 20mV p-p
Low Instrument Input: Impedance -1M Ohms, Input range 150mV to 10V p-p
Line Input: Impedance 10k Ohms, Input range 300mV – 40V p-p
DI Output: 600 Ohm balance / Level -20dBu nominal
Minimum Impedance: 4 Ohm
Headphone Output: Yes and safe for silent practice
EQ: Bass +/-15dB @ 100Hz, Lo Mid +/-15dB @ 220Hz, Middle +/-15dB @ 660Hz, Hi Mid +/-15 dB @1.5kHz, Treble +/-15dB @ 7kHz
Effects Send: Impedance 22k Ohms / Level 0dBu nominal
Effects Return: Impedance 22k Ohms / Level 0dBu nominal
Dimensions (H x W x D in mm): 470 x 606 x 381
Weight: 13.5kg

For more info please visit www.ashdownmusic.com

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Gear News

Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary

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30th Anniversary Limited Edition SansAmp Bass Driver DI

Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary…

The SansAmp Bass Driver DI has been an arsenal staple for players and studios almost since the day it was introduced in 1994. To commemorate its 30th anniversary, Tech 21 is issuing a limited edition with an anodized precision-machined aluminum billet housing and all metal knobs.

This all-analog multi-function, multi-application pedal dials up big vintage tube tones, bright modern slap sounds, gnarly distortions, and all in between. There are three different outputs to drive power amps, recording desks, PA mixers, or simply enhance your current rig. Controls include Presence for definition and upper harmonic content; Blend to combine the ratio of direct signal and SansAmp circuitry; and active 3-band EQ with 12dB of cut or boost.

The 100% analog SansAmp Tube Amplifier Emulation technology encompasses the entire signal chain, from pre-amp to power amp to speaker simulation. An integral part of the circuitry, the individually-tailored SansAmp speaker simulation will complement any type of bass speaker cabinet system.

It is rare an electronic music-related product can withstand such a test of time. The SansAmp Bass Driver has been used for every kind of music style from death metal to commercial jingles, in countless studios, and on tours around the globe. In fact, many mammoth stage rigs you see are actually driven by a SansAmp nestled behind the backline. It has defied the odds and to this day, SansAmp remains the standard of the industry.

Anticipated Availability:  May/June 2024

For more information, visit online at tech21nyc.com/products/sansamp/bass-driver-30/

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