schmig

Have owned or played a SBR-150 and several SBR-60s, I reckon the SB-ELT / RSZ (not sure which I have) is the nicest of them...

My apologies. How the hell I missed that...sorry.

Used a couple of cmdline utils to extract all images from The Major's Bass Boot Camp text for Sessions 1 to 14e.pdf etc...also asked a friend with a windows machine to open the files..nada!

No luck with various readers...very strange. If and when I figure out what's up I'll post something here. Am on linux and have tried out the chrome renderer / foxit / whatever reader was already installed on the laptop..no joy!

Likewise I see no notation at all in first set of PDFs posted. Don't think it's a problem with my viewer. Could anyone please verify that there's sheet music in the PDFs on page one? Would much appreciate it.

I saw the show on Friday night, flew in from abroad. Giblin was playing playing fretless electric/acoustic, an upright, and what looked to me (I'm half blind) like a MM 5 string at times. I found the band quite unimpressive for the best part...at times, things lost all momentum, why exactly it was was hard to tell, but it seemed as if they couldn't quite grasp some of the tunes. The drummer, while very good, was a bit bombastic, I didn't find that Giblin particularly gelled with him. During the show I had no idea who she had on bass and assumed this was an old band member who had to dust it off after some years - was surprised to learn of his calibre afterwards. All that said - thought the proggy upright playing over her vampy tunes was great.

Impedance is 4ohms on cab, amp claims to do 600 @ 4...but really, on full volume, it's nowhere close to the 300 watt hartke with volume opened to 2..

Thanks, there's a nice sounding Hartke head with cab going for 500 euro down the road...so maybe I will..first i want to fill this gap in my understanding however.

Hi all, I've been gigging out for a few years and am reasonably experienced, but have no experience with amps. Initially I used to play a nice sounding 15 inch Warwick combo, which I would borrow, eventually band leader encouraged me to buy the following from a local shop: Genz Benz Shuttlemax 6.0 Peavey 410 TVX I was using this combination for the last few years. At times, in even smallish gig, I would have the guitarist shouting at me "turn up!" when my amp had nowhere to go, that I could tell. I always put this down to a mismatch between the amp and cab. So this week I was in a new rehearsal room which had a 300 watt Hartke head plugged into a Warwick 410. I noticed that if I put the volume knob to 2 on this it sounded like it would bring the house down. Yesterday was noodling on a similar setup in a music shop and NO WAY would it be wise to put to volume above, say, 4. I can go to 10 on pretty much all knobs (save the preamp gain) on my own setup without bothering the neighbours. In fact my girlfriend used it to amplify her keyboard the other day but also found it a bit quiet. Any ideas? I don't want to ask back at the shop..they will tell me to buy more stuff from them. thanks!

Yeah, Redding used to live in Clonakilty, a stone's throw from Skibbereen...as a teenager I'd see him lurking around pubs trying to bum weed from kids...

Noel Redding lived in a town nearby me in his latter years...I recall hearing that he made quite some cash picking up basses, signing them, and passing them on a couple of weeks later...

As someone mentioned above, depending on genre, Stevie Ray Vaughan's Tommy Shannon a good one. His bassist plays simple enough, solid lines that encompass a lot of the usual little runs, chromatic movements, turnarounds, etc. He has no interest in "showing off", as far as I can tell. You'll notice he'll use near-identical lines in different tunes, and they just work. I'd recommend listening to early Fleetwood Mac as well - McVie is similar to Shannon in that he serves the music very nicely, holds it down, works the "canonical blues bass" nicely. These guys served me very well starting out gigging blues a couple of years ago. Know your intros/outros...in practice you can get away with knowing a handful of variations...and stay the hell away from the major 7!

I know a local bassist in Ireland who knocked around with Lynott for years (played bass for Lynott when he went solo, I believe), a chap by the name of Jerome Rimson. You could probably get hold of him easily enough to ask about this...facebook etc

[quote name='brensabre79' timestamp='1332768692' post='1592781'] So is the neck profile on the Geddy bass any different to the one on a standard 1972/3 Jazz Bass? I thought it was, but I have never played a Geddy bass, just a 1973 Jazz (Mine has black scratchplate too - I think this was standard in the 70s but I believe some came with an optional white one in the case!) [/quote] I don't know what the 72/73 necks are like, but I'd pick up all sorts of jazz basses at shops, musicians houses etc...have never seen a neck like it. Very thin back-to-front, at the nut the thing seems ludicrously small.

I've played one of these for about three years now, picked up a precision since and the GL has largely gathered dust. Maybe it's just that I prefer the precision, but my gripes with the GL are: - Weighs a ton. - Look at it sideways and the lacquer shatters on the back of the neck. - Small neck causes pain in my hands. - I've found the tone to be somewhat "empty". I'm not a very experienced player and again, lean towards precision anyway..that said, any visitor who's ever picked it up off the stand has been blown away by the neck on it.

Mega-unlurk, I picked up the bass very late on after a few years of listening to this guy play. I love the sound he produces here. Travelling to the US 2 weeks from now, rare chance to see him play the same stuff.... http://www.youtube.com/watch?feature=player_detailpage&v=nBGQ1xVroqk#t=958s

Scott, unlurking to thank you for these videos. THANKS.

Fantastic site..new to me...thank you.

Don't make any decisions based on this, but, I always manage to carry my bass into the plane in a hard case. I've done this numerous times in various countries. Approach followed: - Don't say a word when checking in - When going through various security scans, they either ignore or assume that it's already been "checked". - At the plane, simply board with the thing. At this point, they will spot it on the way in the door...since you're some sort of musician they'll usually be a bit nicer than they would otherwise. In my experience they will say, "Oh, we can't fit that, we'll have to put it down in the hold", but every time so far, they've managed to put it *somewhere*. Have done this between Europe/USA/Asia. Anyone have a contrary experience? Have been mugged in Barcelona myself (sidestreet of Ramblas/Rablas, whatever it's called), but was drunk/stupid/couple of years younger, mugged the two lads and went on my merry way

It's not easy playing a good line.... [url="http://www.youtube.com/watch?v=8cS40pePzCM"]http://www.youtube.com/watch?v=8cS40pePzCM[/url]

I'm no expert, but I would recommend: - Download a copy of "The Amazing Slower Downer". Trial version will let you play first 3 tracks from a CD IIRC or first few minutes of an MP3, so you can burn the track on there. Something like 50 USD to buy.. - Slow it down and take your good time, note for note, even if takes hours.

My guitarist plays heavy 13s on his strat, tunes a semitone flat ala SRV/Hendrix as he reckons it makes the soloing a bit easier, while giving him a nasty tone.

My sister reckons my childhood "Sesame Street" habit got me into Zappa... Anyway, I think this *should* sound amazing for kids...can't tell as don't know any. [url="http://www.youtube.com/watch?v=CtkZxnkbjtI"]http://www.youtube.com/watch?v=CtkZxnkbjtI[/url]

I've been playing about 3 and a bit years, gigging heavily for one year. Generally over the last year I've put in time learning the approx 60 songs played in our growing set. The last month+ however I've stopped looking at the songs full stop, and spent all of my time woodshedding. Perhaps it's my imagination, but given the practice I've been doing, the bass is starting to feel much more comfortable and I'm enjoying playing it all the more. Admittedly now I live alone and am out of work everyday for 5pm, so if I'm not socialising, I'm practising 4 hours+ a night. Type of things I would be doing: - Right hand finger alternation over strings, right hand vertical shifting and general positioning, muted 16th rhythms with concentration on good time and even attack. - Left hand positioning and attempting to relax the left hand. Thumb behind neck, more versatility in fingers, with focus on eliminating bad habits which I've seen in myself and others such as thumb coming over top of neck when playing bottom registers, baby finger misbehaving in higher registers, etc. Sounds ridiculous, but stand in front of mirror for one hour attempting to shift around neck blind-ish and watching that the left hand does not bunch up. - Pentatonics in all positions. I came at the bass backwards learning all modes/scales, only realised lately that pentatonics have their advantages. - Playing scales up a single string, up two strings. - Left hand shifting. Cannot be emphasised enough. - Going over a couple of Friedland books on blues, jazz etc, as well as various chord tone exercises. It might be my imagination, but i feel my playing is starting to take off. It's all to do with: - Practising the dull stuff for hours on end (the odd break for a cup of tea and a smoke) - Concentrating hard on all of it. - Patience.