mcgraham

[quote]On a loosely related note: anyone got any genius suggestions of how I can do some transcriptions at work? i.e no bass/instruments and without installing any software. Unfortunately I'm not so talented I can do it like a classical composer and just write the stuff straight on to notation paper after one listen on the iPod.[/quote] Umm, do just that? Listen to the song and slowly figure them out one by one. Chord structures of songs are a good start, then progressively more complicated ones. Try singing melodies and visualising the notes/intervals and fingering in your head (or even on staff paper). Again, start simple and work on to harder stuff. Nothing that a bit of hard graft can't accomplish! Mark

Ken bought my old Smith 5 BSR Custom off me. He met me in London at a convenient public location, was kind enough to offer me a drink, paid in cash for the bass and even compensated me for my travel down. He even made sure I was OK with parting with the bass before we concluded the deal. Thanks bud, very considerate! It was an absolute pleasure to deal with Ken and would highly recommend him as a buyer or seller to anyone. Mark

Rich (and any other upright and electric bassist), what are your thoughts on the application of upright bass technique to electric bass? Mark

[quote]Were you finding that you had to EQ the model J's less than the Ultrajazzes then? I know we're probably using different amps and basses, but I find that I need very little EQ on the Ultra's, plug in, sound phat![/quote] I'd tried a number of Sadowsky Metro's, Sad pickups being based on the Ultra Jazz design. It had a nice sound, but had more top end than most clanky amps would sound good with (I used house rigs at the time; didn't have my own), bit of a mid scoop (though smooth and nice sounding), and the lows weren't quite beefy enough. However the Model J's have serious punch up and down the spectrum. Slightly muted/tame top end compared to the UJs, but they certainly didn't lack snap, and I typically rolled about a quarter of the passive tone off. Basically, the Model Js can be used without eq IME. Mark

Depends on what you want the sound to be! For what it's worth I spent ages deciding what to put in my Geddy, and I eventually bought a set of DiMarzio Model J's over the Ultra J's. Why? I wanted something with a fantastic beefy tone as it's base tone, no eqing required. Something even enough to sound full, but something powerful enough to cut through a mix. The DiMarzio Model J's deliver that in spades. Oodles of usable tones from those bad boys. Ridiculously good price for what they offer. Mark

When I was starting out with the Matt Garrison 4 finger technique I was also getting into Charlie Hunter and the whole thumb/fingers bass/melody independence thing. I'm not saying that all this sort of stuff sounds good on bass, as some pieces sound better on other instruments, but it certainly is a good way to develop your technique and your mind. When you try to play a solid groove and melody at the same time, it's difficult. You also have to get your technique sorted on both left and right hands so it's physically easy to do it. Which means, you improve, and the easier other things become. Plus it's fun! Mark

If I sell something, I'll end up replacing it with something else I don't use as much as my main bass/rig. Either that, or the money will disappear into my bank account, and the longer I leave it the harder I'll find it to justify spending what I made off of the sales. I may stick the list up in the For Sale section and see if anyone is interested on trades. Mark

Thanks Machines! Glad to hear I'm not alone. Re: another instrument - I work on my voice outside of bass and guitar. I like to spend a lot of time on just one instrument, too many would leave me without the time to work on any one enough for my own satisfaction. I've got a harmonica and violin that I started on and would want to get more proficient on before getting another instrument. It's interesting what people's threshold is before they start moving things on, and for what reason. Mark

[quote]Damn! I was going to offer you a few quid for it[/quote] A Mars bar would've done! Now I know you're willing to offer more I think I'll just wait it out I know what I have isn't excessive, but I feel that I don't use the little that I do have. Finances aren't an issue, so in that respect there's no problem. I'm just curious to find out how other people approach this, and hopefully grab some pearls of wisdom regarding gear acquisition. There's already been a few! Mark

I think sentimental attachment holds true for a few instruments. Basically I have: [u]Basses[/u] W&T Chronos (my mainstay workhorse now, the only one I play) - not for sale Fender/Shuker Geddy Lee 'Custom' (previous workhorse) - wouldn't be happy to sell but I don't really play it now Fender US J-bass (defretted and epoxied - my first real bass) - would be ok with selling, I don't really play it, but having a good fretless is nice Yamaha RBX Fretless (super cheap - has been on loan to a friend for ages) - happy to sell [u]Guitars[/u] Squier Telecaster (fantastic all rounder and totally plug 'n' play) - could part with it but would probably miss it Ibanez JS1200 (my favourite guitar, but played little as i'm less worried about damaging the Squier) - i love it, but don't play it that often. I wouldn't be happy parting with it, particularly as it was a gift from my family. Yamaha APX-5A (my only acoustic) - not for sale It's not loads, but I'm a one instrument kind of guy. Everything is different and has it's use. Despite this, part of me thinks I'd be better off selling stuff off and putting it towards something else I would use. Your opinions are appreciated! Mark

In a nutshell, I've got more basses, instruments and amps than I actually play. And I hate surplus. But I cannot decide what to sell and whether I should sell certain instruments... What does it take for each of you to go 'right, time to shift some gear!'? And how do you personally decide what you think you'd be happy to sell on/ok with no longer having around? Mark

Some great advice given in this thread. I eventually bought a custom because I realised I was being limited by my previous workhorse, in terms of range, features, feel, sound, versatility, etc. I then made a list of things I felt were lacking, and things I'd like to carry over into a custom. Looks were important, but secondary to function. Fortunately for me the Wood&tronics I found really spoke to me and really had everything I needed, plus took some minor points in a different direction for me. As money is practically no object to your situation, I'd suggest considering (in this order): - Features - what do you work well with? what don't you work well with? what do you long for? what do you avoid? why are you being pushed towards a bass other than the one you presently use? this will have some sway in the company you choose, as a more traditional feeling bass may lead you towards Sadowsky, Celinder, Bacchus, Overwater J, Sei J, Shuker J, etc. Or if you want something more contemporary in its feature set it may lead you towards Fodera, Alembic, Wood&tronics, etc. - Sound - what are you hoping to achieve with this new bass sonically? what is the 'design brief' so to speak? what is the goal? there's nothing wrong with wanting substantially the same sound you presently have but with better playability or the like (as a result of the features). Again, traditional may lead you to the trad. style luthiers/basses, whilst more contemporary may lead you elsewhere. - Aesthetics - what do you like the look of? that will have a huge bearing on the luthier/bass you choose, as certain luthier's have very distinctive looking styles that are their 'own'. Either way it's an exciting position to be in, but don't rush things, take it easy, and ask yourself what you really need or want. Mark

+1 to Rich's advice. Little known fact that was revealed to me recently, is that quicktime (even the free version) has great transcription features. Open up a song in QT. Go to 'Window-->AV Controls' and you have the option of changing pitch and/or playback speed. No cost involved! However, Janek Gwizdala advocates not slowing songs down for learning them. Whilst I think this is a goal to work towards, it can be very disheartening at the beginning, and some pieces are genuinely too quick and/or too muddy to do work out without some technological help. Good luck anyway! Mark

Listen to funk and learn from it. Play along with it and try to figure out for yourself what drives it as a genre. Although it depends what sort of funk you're after. If you're after the fundamental basics of funk and funky music, I'd go straight to James Brown stuff. I discovered that later in my playing career, but it's simple, to the point, sparse, tight, tight, tight... did I mention tight? If you mean 'funk' just in a sense of getting a serious groove on, then Jamiroquai is a sound bet (IMO). Jackson 5 has some real funky numbers, even if it doesn't qualify for 70s-cheese-funk... which sounds like some kind of infection. Tower of Power is also good but perhaps a bit intense for getting into funk as a genre, so much going on. Just listen to stuff, get into a groove, and the rest will follow. It's not about the notes or number of notes, it's about trying to flow with the song. Try and sync up your playing with the part of you that's tapping along to the song. Mark

I wouldn't call mine GAS per se, it's more a querying mind/thought process. I think part of me knows that practically it's better to have a small-ish size rig (for portability) and that what I have sounds great for so much stuff. Also, my current gigs don't require serious volume or uber-powerful or complicated gear. The Berg is practical and sounds great. Awesome plug'n'play factor. However, I'd love a big cab. No reason for it. Just a desire to have a big cab with a clean flat sound. Something that can get the lows with no effort. Alex's Big One is something that makes me wonder about that. However by virtue of the fact it's large, it's not small! Which destroys the portability factor. Also, I'd need a power/pre or head again. Which opens up another can of worms as to which one to choose. Again, just not worth the hassle when I already have such a great plug and play sound. Mark