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fretmeister

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fretmeister last won the day on April 9 2022

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  1. Those Hal Leonard arrangements are very useful, and Paul Murtha seems to have a talent for keeping as much of the original feel as possible. The practice playlist in my signature is stuffed full of HL arrangements.
  2. When I started to learn to read in my forties it was a game changer. It really did open up loads of playing opportunities. Just pitch up and play. No more worrying about if I had learned the wrong key or arrangement. There’s endless community music groups around and often it’s only the bass and guitar players who can’t read. Far more chance of getting the gig if you can. And it really is not difficult to get to a grade 3 level. 5 mins a day of proper practice on reading and that’s achievable in a year.
  3. Maybe I'll have to try one at some point then. I like a harmonically rich clean sound with a touch of fat mid slightly farty saturation. Somewhere between John Deacon's live sound and Joe Dart.
  4. I'd like to try one but I'm also not quite convinced it would be different enough to the Stomp Retro Reel block for me to justify the cost of it. The Retro Reel block is an often overlooked block for bass. Just set the Wow Flutter control to zero, the tape speed to 15ips and then Saturation and Texture to taste. I like about 2.8 Saturation and 8.3 Texture. Without the Wow/Flutter it is just a brilliant warmer-upper. I have it on most of my patches.
  5. That’s not a fault of the classical system. That’s a fault of the student ignoring the art element of music and not going out and playing with others outside of the educational structure. I absolutely agree that many classical only students don’t improvise because it’s not a genre that ever requires it. That’s why I said I would also take jazz studies - jazz is the biggest use of improvisation and it is taught and encouraged. Studying both is important but saying playing the line is only 10% just isn’t true. Bass generally requires far less improvisation outside of jazz as it’s used as a foundation for the rest. Playing the part right is always at least 90% of the job.
  6. Probably not this one:
  7. I would have in person lessons in a way classical instrument players approach it. The system is very successful for a reason. I would also take theory grade exams (as in no-playing, just understanding of theory), and do dedicated jazz studies. I've seen it in many classical instrument players - zero to grade 8 within 5 years of a properly structured programme - and then being ready for conservatoire study if wanted. Grade 8 exceeds 95% of bass work so that would set me up to play most things for the rest of my life. Separating the academics of music from art is a well established way of doing it very efficiently. If I won the lottery I'd quit my job and do it now!
  8. If it came here by Parcel Force it's probably still in transit. Only been 30 odd years!
  9. If I had the money I'd already be in the car!
  10. Nice. I had a Mk1 and enjoyed it. I’d like to try a Mk2 at some point.
  11. Strip it with a heat gun.
  12. The JMJ model comes with the Fender flats so they will work. I think they sound great - I sometimes have them on my Lionel. When new they are brighter than the La Bellas but react well to the tone control. I think the feel under the fingers of the Fender Flats is a lot nicer than the La Bellas and I do like La Bellas as well. The Fenders are a lot less grabby when the fingers get a bit sweaty. I have not tried the others.
  13. Me too. I have the AG-4P 1960s wind P bass with the humcancelling J set in my Lionel, that P pickup alone in a Jim Deacon shortie, and the MM type in my parts Pingray with their 2 band EQ. Superb pickups - but they do seem to be getting more and more expensive these days! I was thinking about a set of their 1960s J pickups for my Sandberg TT4 but then along came a set of the Nordy 50s P pickup in a J shell in the classifieds for a very sensible price so I'm trying them first.
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