mcgraham

You do have a killer bass Dood, tis nice to see someone else choose a custom with a maple fretboard. I've actually been in contact with Brian @ Low End and (provided my Smith shifts sharpish) I will be purchasing that jazz I mentioned above. Fitted with a more narrowly spaced bridge of course We were talking about perhaps a custom build, and the prices are sooo good it seems almost a waste not to shell out just a couple of quid more and go for the full works with a 7 string. However, that's not on the cards just yet... Will keep you informed as to the progress. Mark

[quote]ok i don't quite understand this. You say that as if it's simpler then just having a string with lower notes on it which it's not really.[/quote] You're right, it's not easier than having that extra low string. My apologies if that came across as a bash or saying it's easier to drop tune than have a 5 string, what I AM saying is that I have used a 4 exclusively for the last few years and rarely ever needed to (or chose to) go lower than the low E in the groups I'd played in, hence didn't need more than a 4 99% of the time. But whenever I did, I downtuned for that song. I hope that clears up what I meant. Mark

Hmm, you are a wise man sir... I may do that. Wouldn't happen til sometime next year though, and bits of gear would have to go to fund it, the proceeds from the Smith would cover a good portion of it though. There's a beautiful 6 string black alder/maple Low End Jazz for sale over on the Low End forum for a great price, unfortunately I like 16-17mm spacing and that one looks to be 18-19mm. Otherwise it'd be perfect! Mark

Goooood answers... it's always really inspiring to read about other people's joy in playing. Dood, I used to do likewise with the 6 string, half the gigs the band leader would get ticked off cos I'd noodle (even if it added to the song, by very definition if you are up in the higher register, you can't be holding down the bass part) and half the time it really worked, but because it was a melodic part that didn't need bass and they were taking advantage of having those extra strings.....ahhhh, now I remember why I liked having the extra strings, for THOSE moments That 6 string jazz may be on the cards after all... I wonder how much that'd set me back. Mark

Thanks for the response 7string (is it Matt?), I'm glad you chimed in as it is people like you and Dood whose opinion I'm most keen on hearing. I too have listened to people on such ERBs and thought 'wow', and been inspired to pursue something like that. My second bass after only a few months of playing was the Ibanez I've just sold and played exclusively for years *sheds a tear*. Moved to Britain and got a Geddy Lee (left the Ibanez overseas til recently) and didn't feel like I was missing anything. Same with the Smith, played that exclusively for an atrocious period of time per day for the last few months and I don't feel like I'm missing anything when back on the 4. I guess the (perhaps almost false) dilemma is that I sometimes wonder what I'm missing out on not having more strings, but when I get one, I think that the additional strings are cool but effectively superfluous. The grass is always greener eh? Mark

I hope not too many people have been turned off such a topic, as I have a question that I myself can't seem to find an answer for by myself, and I was hoping for some input. I've played 4s, 5s and 6es, got on best with 4s and 6es but it's been a few years since I had both around at the same time. After having the Smith I discovered that, like Elros, I used the additional high C somewhat when practicing at home, it got no use whatsoever in a band/group performance context. Even when I wanted to use it and could hear parts that used it, it just did not work. Quite the reverse with the low B, I tend to avoid it in practice and rarely hear parts go below that low E. When in a band context, if I hear a part that goes lower or I need a lower note, I simply downtune to the appropriate note. My question is, how did/do you guys make the decision as to how many strings you'd need/like/want/have? I am considering perhaps a 6 string jazz by Shuker in the future, literally just a 6 string Geddy without any trimmings. But I don't know, my fear is once I'd got it and the delight of a new instrument wore off that I'd just sidle on back to my trusty 4. Any thoughts on such a choice or how to make such a decision? Mark

I think we can both agree that there is no 'one' perfect technique, that there is as I like to call it, a grey area of good techniques, however I would take issue with someone who says do what feels comfortable. Not because that statement is immediately wrong, but because people who advocate that advice stick with what they feel is [u]initially[/u] comfortable, and that then leads to problems further down the road. We need to constantly assess what is and isn't comfortable. I'm not a classical musician at all, but from a purely medical perspective there are downright dangerous ways that some people choose to play an instrument. We as people playing more modern contemporary instruments, we shouldn't be so quick to ignore several hundred years of development in classical technique on instruments, to do so is...well...ignorant? Don't get me wrong, I think that there are still potentially some errors in classical technique, but we should take our technique and musical development seriously, learn holistically from what is out there in order to make the best decision, and even then be willing to re-evaluate our stance as we develop. Mark

Funk, I don't have an injury but I do appreciate your situation. I used to wear my bass high for a good while but when I attempted to reset all my habits I practiced primarily in seated classical guitar pose. And now, I look at most every bass player and wonder how they can handle having their left arm virtually parallel to the floor in order to reach the 1st fret and how they can tolerate having an acute angle in their right arm at the elbow, cocked wrist or not. I'll try and get someone to take a picture of how I wear my bass, there is a way to wear it without having to keep either arm completely raised. Mark

Three years ago when I got involved in the gospel choir, I wanted to play fast. you know *crazy* fast, like 16ths at 120bpm fast didn't use a metronome, but didn't do too badly either. That was my top speed Two years ago I decided I was going to learn the TIMR/PIMA 4 digit technique popularised by Matt Garrison and the like. That sent my technique through the roof because in a matter of months I was hitting speeds of 16ths at 180-200bpm and using string crossing rather than just one string. Staccato lines galore, chords, comping, the works. One year ago I was getting fed up with it because it doesn't have a great method of muting if it's your primary playing technique, try improvising one note per string lines and skipping without a good muting technique, you will struggle. I decided to go back to two finger, including floating thumb and straight wrists, to see if that would help. Used Hanon piano exercises as recommended by a certain Mr Gwizdala. Worked wonders. Particularly because I'd been used to playing such fast lines before, I knew that my left hand and my right hand were up to it. Mindset is a powerful thing. Now the technique is above 16ths at 200bpm, string crossing, staccato lines, arpeggios. Yes it can be tiring and you fatigue quicker than using all 4 digits but it is clean and wonderful... Now there are still two questions that crop up for me, how curved should my fingers be i.e. compare Manring and Willis, and should i alternate plucks whether ascending or descending, i.e. compare Nitti and Willis (I don't idolise Willis at all, I'm using him as a good technique example). In all honesty, I completely agree that it is easier to be consistent in timing using strict alternation, that much is clear from the impeccable timing I get from the Garrison technique. Also you get a much stronger attack with more curved fingers than less. However, I can play in a much more relaxed and consistent manner when my fingers and much less curved than Willis, and the timing isn't such an issue, I actually prefer the sound and feel of raking. And it certainly hasn't impeded my progress. In short (as I realise this is a long post), there's certainly wrong ways to play but there's a grey area of right ways. I've tried a few regions in that grey area and found one that I can play for long periods of time and feel comfortable with and play virtually anything I can think of or be asked to play or hear. I don't think that clears anything up but there's certainly some food for thought there. Mark

My pleasure, feel free to message me or email at [email protected] if you have any queries, though posting them may be of more benefit as we get many opinions and everyone can read it. Mark

I was choosing whether to pick up guitar or drums, someone said what about bass? I didn't know what it it was, they said it's the thing that goes 'boom' underneath the guitars. I asked what else it could do and they sent me the 'Higher Ground' cover by the Chilis. I HAD to be able to make that sound First bassline before I actually got that one was the Peter Gunn theme tune. Haven't looked back since, guitarists don't know what they're missing. Mark

Ok, early morning hello to you all... When I started in the choir these guys who were running it had been teaching songs for years and so didn't have chord charts for most songs and didn't have music for any. So as they'd start a song they'd (sometimes) call out a key of the song for me. However rarely do gospel songs stick within one key or at the very least only using diatonic chords i.e. chords that are ONLY in that key. They would add odd chords, side step, modulate briefly, modulate for quite some time, key change, potential unison lines, sax/horn/keys parts that demanded unison, harmony or at least support. Along with transcribing, I went about learning my scales. I learned the modes (and others) and what they were because they were used just as much as a standard major key. I practiced them for a little while but then stopped. Why? Practicing something serves more than just one purpose, the two main ones I identify from scales are musical ability and technical ability. Technically, I had no problem playing scales and there were plenty more permutations of fingering and lines that were far better for technical ability that still contained musicality. The musical aspect is the most important part that I benefitted from. The practicing of scales (amongst other things) was important for identifying various intervals and how they sounded over a single note, over a chord, moving between chords, moving between keys etc. As a result of that, I can fairly easily identify the function of chords up to about a 7th or 9th without an instrument (though it's not 'cheating' to use one, just not as challenging) and I can identify what a scale is simply by the unique sounds that various scale portions use. Similarly with everything I mentioned above, if you develop your musical memory in this way you can identify what any note/chord/scale is and what chord/scale/note would sound good over it. I'm not sure that's especially clear or instructive, in short I think scales are important primarily to develop musical memory and the ability to play by ear in the manner I described above and in my previous posts. Try to identify and LEARN what each note sounds like, what its function is. There are 12 intervals and many more possible two note combinations, and even more 2 note combinations over a given key/chord. There is a point to practicing scales that people often miss, the technical is good but they forget it's about music. Mark

Hmm, the question of whether the runs they do are all in the scale/key of the song doesn't have a universal answer. Sometimes yes, sometimes no. I'll detail my take and personal advice on scales and improv/ear training tomorrow when I have some more time and I don't crave sleep! I'll drop my email too. Mark

I played in a gospel choir for the last 3 years and am putting together one where I'm located now. With regards learning, writing/developing and practicing those crazy runs I'd suggest doing what I was forced to do just because of the nature of the choir and now do by choice... transcribe. Even if it's starting small with just a chord chart, then working your way up to melodies, harmonies etc, practicing transcription skills is invaluable. I'd suggest picking a list of about 5-8 songs you like for whatever reason and transcribing a portion that grabs you and/or the complete song. A great song that has simple yet very cool bass fills is 'Your name' by Bob Rawleigh. The dude on bass has a beautifully thick bass tone, that I reckon is a P-bass. Israel and New Breed are another good group, 'You are good' in the verse instrumentals the bass has a simple, groovy yet melodic part, there's another song from their recent album 'A deeper level' that has a few lines that are verrrry gospel. I'll edit this to add it when I find the one I'm thinking of. Also, try thinking of a few lines, and transcribing them. Singing them out helps you to identify the right notes and in time will allow you to use your voice as a transcription tool. I tend to have a list of 8 songs always on the go that I now transcribe to score (reading and writing music in standard notation is a skill that I personally need to work on) I score out the vocal harmonies and chords at work in my lunch hour. So yea, transcribe! Hope that helps somehow! Mark