velvetkevorkian

[quote name='Jase' post='269675' date='Aug 25 2008, 06:55 PM']I love Gilbert too, he's an amazing musician aswell as a master shredder. It's all very well these bass players on youtube doing a Scarified cover, I agree it's incredible but it's been done before, do it live if you're going to learn it....sitting in a bedroom is good but not that good. Juan's the man who cuts it live for a bass shredder! [url="http://www.youtube.com/watch?v=iOW_-OESnq0&feature=related"]http://www.youtube.com/watch?v=iOW_-OESnq0...feature=related[/url][/quote] If you're going to do it I suggest a mullet of that magnitude may be in order also. Awesome, on so many levels.

I love nothing more than unison lead/bass runs. if they're tapped, so much the better. I wish I had the dedication to practice the 8 hours a day it probably requires. I spent most of my day at work yesterday humming the opening Scarified riff to myself.

Just listening to "Romantic Warrior" by Return To Forever for the first time. Weather Report put me right off fusion but this is more like it!

[quote name='jakesbass' post='257927' date='Aug 8 2008, 11:23 AM']I am undoubtedly turned off by perfection without an equal dollop of musicality in the mix. It's very rare to find both qualities in a player. If we are talking bass there are a handful of guys through history that make it for me. In the wider world of music there are some notable examples especially in the classical world as despite the fact that they are regurgitating others creative output there is a massive emphasis on expression beyond technique in classical performance. In Jazz the guys that really do it for me are the ones that have technical facility that make their musical thoughts appear effortless, instant access to their musical soul. Wayne Shorter, Jaco (although I think he overdid it sometimes) Bill Evans, Miles, Oscar Peterson, Stan Getz, Kenny Wheeler, Louis Armstrong, Cannonball Adderly are just some of the guys that I listen to and hear what they are [i]saying[/i] rather than [i]what it is[/i] they are playing.[/quote] I agree entirely about classical musicians. Everyone seems to be equating "too good" with "too technical"- clearly there are players who have a massive technical facility, but IMHO being really good means much more than that. Is it possible to have too much technical facility? I would argue not, but its all in the use of that facility, and the expression that should go with it.

Jazz drummers and certain shred guitarists.

The Stentors are IME at the better end of the budget market.

A sound plan.

[quote name='planethead' post='253132' date='Aug 2 2008, 08:20 AM']Thanks Dougal and... Yes and no.. if the numerals [i]are[/i] strings then it makes slightly more sense. Its the absence of a clear definition of 'position' that's throwing me. In my scale book the author refers to 'position moves' indicated by the numerals which suggests hand not string unless position indicates vertical and not horizontal movement of the hand. The Jason Heath article refers to position without ever being clear what it means - I assume he means hand.. Perhap's a thread to establish a meta-syntax to alleviate analysis paralysis would be useful...? and there's probably a market for 'fist position first degree Nanny' in the darker corners of Amsterdam or Berlin ;-) TTFN Ian[/quote] The position moves are indicated by the brackets above the stave. The roman numerals do refer to the strings. If you're translating that to electric I wouldn't recommend using the indicated fingerings/position shifts though.

So you can make sure your walls are in tune?

I'm thinking the same as yourself, so also looking for anyone with any experience there!

Excellent introduction I reckon- well detailed but not overdone, and well written too. I also came across a couple of your lessons on the Chops From Hell site and was very impressed at them also

I don't actually have a problem with going TIMR, I was meaning more that strict alternation doesn't seem to work as well (for me at least). I shall work on it I guess

How strictly do you alternate? I'm used to playing with 3 fingers in the Billy Sheehan style, with very strict alternation, but that just doesn't work for me at all when you throw the thumb in- the feel just seems totally wrong. Do you use this a lot for melodic lines or just funky staccatto stuff? Kyle

Putting your thumb "through" the string is basically double thumbing technique (exemplified by Victor Wooten, amongst others). It doesn't really work without the upstroke IMO, and does give a very different feel to the line- its not just a different motion for the same slap. Personally I prefer double thumbing but thats just cos I've practiced it more; it does take a bit of practice to get it sounding like "traditional" slap. As with most things, there's no better or worse here, just whatever suits you and your playing

Holy s**t. You the man. Thanks! [quote name='paul, the' post='86200' date='Nov 9 2007, 08:59 PM'][url="http://www.taringa.net/posts/downloads/830657/Megapost-libros-de-musica---Mucho-bajo-y-guitarra---imperdib.html"]http://www.taringa.net/posts/downloads/830...--imperdib.html[/url] [url="http://stratofede.bloringa.net/post-834748.html"]http://stratofede.bloringa.net/post-834748.html[/url] [url="http://community.livejournal.com/bass_players/361931.html?style=mine"]http://community.livejournal.com/bass_play...html?style=mine[/url] [url="http://bassko.blogspot.com/"]http://bassko.blogspot.com/[/url][/quote]

They are indeed a cracking good band. Hope you find someone soon.

I've gotten my 4/4 5 string and 3 people in a Micra. Wasn't much fun for the person in the back seat though As previously mentioned, just about any hatchback should be OK.

Most White Zombie songs kick off awesomely, then fall apart in the middle.

Don't fancy a few more strings?

I would definitely go for the 5er- one of the best low Bs I've ever tried.

Any chance of a link?

I find it lets you dig in more, although that doesn't qualify as much of a benefit IMO.