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I'll go and watch a few videos and see what she says. My take is, when I chart stuff out I will always write the full chords rather than something like a bass tab. Firstly, because it helps to have it In case we have to get a dep bass/guitar/keys player. Scales are good to know, and a great reference, but chord tones are more of an accessible way to start making bass lines. For me relating bass lines to chords is better way of understanding harmony and the function of each chord in any given key. It gives more of an ability to target key notes that'll compliment what the others are playing and I can omit notes I know won't work over a chord. If someone gives you a chart with some more unusual chords, say I Will Survive that says: Am Dm G C△ F△ B° Esus4 E it'd be simpler to relate something like a m7b5 to a chord rather than a half diminished scale. Because right away you know which notes you can highlight, and can disregard notes that won't compliment the chord. Plus, you can visualise the shape of that chord, and know where those key notes sit as opposed to having to run through the whole scale to find a 6th or b9 or 11 or whatever the extension to the chord may be She could also be referring to the numbers system!

/thread

*Don't worry, there is a video below* For as long as I've had my little collection of Boss OC-2s, people have asked the inevitable; "what do they sound like all together?". Up to this point I'd never tried because, well, that's silly right?! Well here it is, a very quick hit of my 7 OC-2s together. The looped bass 'riff' had to start high on the bass neck to accommodate the stacked low octaves as best as possible. We ignore the -2 octave control, and so each pedal starts with no direct signal and 100% -1 level. Once all on, we start to introduce the clean blend on each pedal. I have to ride the Input gain of the recording device a bit, simply because of the sheer amount of signal going on, but once we get to OC-2 number 5 & onwards, they start to overload each other. So the distortion that you're hearing is not a clipped signal into the iTrack Pocket, but OC-2 pedal 5, 6 & 7 themselves clipping. Helpful? No Silly? Yes Have fun. *USE HEADPHONES OR DECENT SPEAKERS". For the geeks who get this far, bass is a US Lakland 44-94 passive P/J, and the OC-2s are one of each iteration of the pedal, as follows: - Black Label Japan Octaver - Black Label Japan Octaver - Black Label Japan Octave (lighter paint) - Black Label Taiwan Octave (darker paint) --Silver Label Taiwan Octave - plus two extra un-boxed Octavers. I tend to gig these two. Si

Another one from the 70's:

Another one - written by Lalo Schifrin:

I know that many members think that Gibson can't build basses, and having in the past owned a '66 EB2 which played like a dog I might have agreed, but the EB described here as a "monstrosity " is very well built. Take a look at the top of the neck with its volute and the amazing Babiscz bridge. Who ever designed this put some thought into it. You may not like the body shape (which isn't so different from Fender's Dimension) but it works. The slightly extended upper rear bout tucks under the arm perfectly and I suspect contributes to the excellent balance countering possible neck dive as its so light. May be critics should try out an instrument before slagging it?

Plug in and play, I don't have this thing called 'your sound'.

I've done a similar thing many a few times. I buy a bass at a keen price. I clean it up, oil the fingerboard, tighten all the screws, set it up with new strings, and noodle it for awhile, then eventually sell it on at a modest loss. It's easy.

Yes, that would be great to learn, but I would say that if you want to learn it, no point waiting to get a 6 string, it was written for the Cello, which has 4!

Stu, if this story results in a Wal being returned to long-lost owner or similar I'll happily donate £100 to a charity of your choice. If it turns to out to have been a noble attempt at the above - which it's looking like is the case - I'll still donate £50 to the same charity. I'll let TrevorR be the judge of the outcome. Either way, my apologies for the scepticism and thanks for your public spirited attitude, a rare thing on the internet. Chris

I've had the same experience. Moved on from Markbass stuff years ago and went round the houses with 'better' boutique brands. Recently got bored of having 2 grands worth of rig and not being 100% happy with it; went back to Markbass and it just works. That sound out of the box just fits really well with so many applications.

Bolt Thrower

I was a Stones fan but still had all the Beatles albums, singles and EP's. As a musician you had to, they were the source of most new ideas at the time. The Beatles started as a live Rock and Roll act, went through being a backing band and came out the other end as the biggest original band in the world. No one's ever likely to like all their output (even they didn't), as it stretches from I Saw Her Standing There to I Am The Walrus, through Yellow Submarine (!), but they constantly changed what was possible with every new song and record they put out. Lennon and McCartney were musical giants. Very few bands have survived to the first album with two such original talents on board. They had to fight each other for their space in the band and certainly weren't interested in giving George Harrison a fair crack. He got his token song on each album and as he said he was writing songs but not bringing them to the band. He did manage to write one of their most famous songs. As Frank Sinatra said, "Something is the best song Lennon and McCartney ever wrote!" Forget the inaccuracy, that's some complement. While Lennon and McCartney were busy re writing the rule book for popular music Ringo was redefining what was possible for a drummer to play. Earl Palmer changed the drum world in 1949 by starting the 2 and 4 snare drum pattern. Now you can't imagine music without that simple beat, but 2 and 4 didn't cut it in so many of the Beatles songs that Ringo had to come up with something that did and in so doing opened the door to creative drum patterns that have spread into every drummers repertoire. Neal Peart, Buddy Rich and Jon Bonham are all great drummers, they brought something to the table but they didn't change the world of drumming. Ringo did and for that he needs recognition. There might be "better" drummers but Earl Palmer and Ringo Starr are the two most influential drummers in the last 70 years.

I used to worry incessantly about what bass I was using, what rig I had, was it right for the job, were my strings bright enough etc. I came to realise after playing in 3/4 different bands over the past 4 years that, certainly in my case and situation, it doesn’t matter, and no one cares or notices how my bass sounds. I am about the only person who notices the difference in my rig or bass and most band members can’t really hear a huge difference in a live situation. This is also compounded by the fact that I go through a PA and ‘my sound’ can usually only be heard by me on stage, and everyone out front just gets the dry signal from my DI (pre EQ most of the time) which is set up by the engineer, I don’t normally hear it. Dont get me wrong, I will get a comment when there is too much ‘woolly’ bass or treble in a venue, but as long as I sit in a mix and play the right notes, no one cares if I’m using a Squier Precision, 3k Overwater, Aguilar rig or £250 Ashdown combo. For me it has become quite liberating, no one apart from me and few folks on here or other bass players (I don’t meet many to be fair) give a monkeys about my kit. This means I don’t swap my kit very often apart from out of curiosity, and I free up mental space to play and try and retain 3 bands worth of material in my brain.

This is hilarious and excellent in equal measure. Good work, sir ?

I think that’s the key, apart from sounding exactly right for the music I play, they are just really good fun to play.

Here's a pic of a guitar I toned with StewMac's Starcast Ambur toner then did the black around the perimeter. It was done in Nitro over the existing black poly that came with the guitar. Came out perfect. The pic is before it was cleared over.

By the way you could use the poly base as your primer base if there are no places that need to be sanded out or filled to hide imperfections. Again use the 600-800 paper to insure the scratches don't show in the paint. Are you using rattle cans or a spray gun?

It is, really. Anyone can play whatever they like, and call it music. The audience can choose to like it or loathe it.

I loved The Sweeney theme tune from the 70s, does that count as a groove?

@Al Krow I should have some time to record it today for you. I’ll go native, no other effects, then I may do it via the Tyler with the rest of my chain for you to see if it makes the blondest difference, it probably won’t knowing me!

I think these steam engines on’t railways are dreadful things. It were far better when we just had horse and cart. Life were just so much better.

I know the bassist in my drummer's (death metal!) band is an accomplished six string player, but I can't see myself using it for band stuff somehow. But for solo noodling I suspect it's going to be a lot of fun. This will be on my 'to learn in 2018' list for sure:

Loved my Peavey MkIV head. That thing took so much abuse and never missed a beat. Felt like it had a big lump of concrete in one end though. Happy Days.

Indeed - this is just normal capitalism. The original owner could have tried to sell it at £780, but he didn't. It was his choice.

This is fundamentally untrue on a number of levels (and I think you probably know that). The only time this might apply, is if you consider it in the context of the music industry prior to the internet (why would anyone do that, it's silly), or whilst having an incredibly blinkered/narrow view of YouTube contributors......and indeed the number of very talented artists today who very much earn a healthy living. Richard Bona recently did an interview where he admitted that he made $2million dollars in publishing since leaving his recording/publishing company (the old system)....go figure huh. Si

Many years ago, there wasn't the plethora of gear available today. You had a bass and an amp. If you weren't happy you tried out other basses and amps. That's still a good place to start. I'm going to assume you already have found the strings you like, so then you can always go to replacement pickups and different cabs. Tweak what you got, experiment with small things, and yes, the sound of a room greatly affects your sound so learn how to tweak for different rooms.

The polls different from the question - my go to bass has 5 strings, so do all the ones I routinely play 95% of the time. However I do have some 4 string basses that I play so I can’t say exclusively

I guess he spotted a bargain and thought he could make some money, that's all. It happens occasionally on here too! (as does re-using previous descriptions and photos). If the bass isn't worth what he's asking then chances are no one will buy it. I can understand that morally it leave a bad taste in the mouth, especially if you were interested in the bass at the original price, but he's not really done anything wrong.

We're ALL older than him! Welcome, Raeman...

My advice would be to get a Roadworn Precision and a second hand Roadworn JB neck. Or a full Roadworn JB. They are cheap and excellent instruments. You switch the necks and you can play a Precision with a delicious slim JB neck I own a 62 JB and a Fiesta Red Roadworn Precision. Sometimes i switch and have the P sound without changing my way of playing (i am a JB addict). Otherwise you can get this custom-shop postmodern. P with a JB neck

Hey Raeman Welcome sir... Start as you mean to go on..

One of the few things being born in 1953 was good for. Being 10 years old in 63 was perfect timing. Before The Beatles most of my time was spent trying to figure out how to get more candy. Blue

Put it this way, the Beatles could have had almost any drummer they wanted, they wanted Ringo. When he walked out they begged him to come back. The feel of the songs would have been different with any other musician in there, not just Ringo. You want to hear a live band absolutely nailing it? Go and see the latest Beatles film. No click tracks, no monitors, poor PA systems....but perfect harmonies and a super tight band. Genius.

I'm older than you...

Welcome Raeman. You've come to the right place. There is a thriving marketplace on BassChat here.

Hahahahaha. Bless.

So, reading cynically between the lines, if the OP wants to reunite a recently acquired bass with its owner and s/he has sufficiently short memory to have already forgotten where they bought it, s/he either knows it's stolen and has pangs of guilt and wants it gone, knows it's stolen and is using this thread as a way of selling it (I bet s/he's already had a few PMs saying "I'll give you a grand"), is trying to get a Chinese Wal faker into circulation etc etc, the permutations are endless. Having said that, I sincerely hope it is what it seems, it would be quite life affirming to think that someone who recently bought a stolen bass was honest enough to want to find its rightful owner.

Pablo Picasso said it took him a whole lifetime to paint like a child. Your Neil Peart’s of the world would be good for painting the Sistine Chapel, Ringo might drum like a cave painting but to me it says just as much. I’ve not had enough sleep by the way.

Cool, I can dig it. Thing is anybody can be a drummer, Ringo was a Beatle. And that's hard to pull off. Blue

If more drummers played like Ringo instead of trying to be Neil Peart* amateur music would be a happier place. * Not a dig - I think he's fab, mainly because he can actually play like Neil Peart.

Turns your standard leccy bass into an unplayable waste of money.

He was at the London Bass Guitar Show in 2016, quite tall as I remember. I use YouTube to find things I am interested in. The recommended videos are often really useful. I'm not forced to watch anything, I type in or click on what I want to watch.

another device to get people to buy stuff they don't really need with money they haven't really got

There is no nonsensical noodling in most of Jaco's work. If it sounds like nonsense, it is because you aren't hearing it. As a fan of some of the more extreme Jazz forms, my interest in Jaco wained a long time ago but, to continue your analogies, Jaco was pretty much Jameson plus. There isn't much that he does that isn't intensely melodic or riff orientated. Sometimes he went up his own arse a bit but that is the nature of improvisation; sometimes you fuck up. Jaco pushed the envelope. A lot of what he did had precedents but he just took it all further. Except the harmonics. That was all him.

Absolutely! But then sometimes taste goes out of the window... For example:

I'd like to just say thanks for all of the efforts in improving site. Having worked on system upgrades for the last 20 years I know how difficult they can be and the problems faced. Hopefully the majority of users won't be impacted by the lost pm's and can appreciate the benefits of the new features.