funkypenguin

[quote name='benzies123' post='653251' date='Nov 13 2009, 12:21 AM']That video is awesome and I would love to do it but I can't find a free or affordable score of this arrangement anywhere. I could arrange it myself but I don't have much time left. Thanks for the link though, I am a huge fan of Patitucci he is awesome![/quote] thats a pity mate. im sure its out there in lead sheet format? Patitucci is one of my biggest influences as a bass player his sense of phrasing is incredible

[quote name='skankdelvar' post='653262' date='Nov 13 2009, 12:49 AM']Well, having watched that I'm astonished. What follows is [i]just my opinion [/i]and does not seek to deny in any way the pleasure some may experience from this piece. I was under the impression I was going to see some sort of musical God and hear the voices of angels. What's delivered seems little more than that which a moderately accomplished amateur six-string guitarist might knock up in their bedroom. Turgid tune, crude and predictable use of harmonics and drop-tuners. In one word - clunky. I cringed with embarrassment as I watched a grown man go gooey-faced while delivering something he does not realise is so comprehensively underwhelming. It seems to me that the approbation he garners is down to the fact he's doing it [i]on a bass[/i]! That's sad. I'm terrified to think that brains might well explode if anyone here happened to trip over some Adrian Legg or Pierre Bensusan or Jerry Donahue. Speaking of whom - This is how to use harmonics - Start to 1:02. Not a drop tuner in sight - and [i]musical[/i]. [/quote] im not sure how you come to the conclusion that that introduction is musical and what manring is playing isnt

[quote name='Mykesbass' post='653225' date='Nov 12 2009, 11:47 PM']Doing this incredible stuff to me is like guitarists and shredding - there's always going to be someone to come along and do it faster with shredding, with bass, always someone to push the technique even further. In the end we'll always be going back to the James Jamersons, Bernard Edwards and Norman Watts Roys of this world.[/quote] but i think its fair to say the bass world would be somewhat more boring without players like manring

[quote name='ahpook' post='652825' date='Nov 12 2009, 05:24 PM']a little more interesting, the guitar gives it some context, but to my ears it's just bolted on. the piece sounds like it was written for cello and guitar...i don't see what playing it on an ebow-ed fretless adds, apart from novelty value. edit: although, having played a fretless with an ebow on a number of occasion i will say it takes some skill... but that's not going to make me listen to the music. i don't get off on listening to 'wow what a player' music for the technical ability of the players if the music doesn't get me as a whole, and then i'm listening to the music, and not the player...if that makes sense ?[/quote] I think you're missing the point. that its played on the bass, or that hes changing the tuning, is secondary to what he's saying/communicating through the music. take technique, and that he's playing a bass out of the picture, and think of him as a composer

one to perhaps show you off a little (helpful in an audition ) sister sadie [url="http://www.youtube.com/watch?v=TMPZ75wQOt0"]http://www.youtube.com/watch?v=TMPZ75wQOt0[/url] i know Patitucci is playing upright, but you get the idea

in answer to the original question, i think the idea of boundaries is what is most detrimental to the progression of bass technique and indeed the evolution of the role of the bass guitar. as (i think!) has been mentioned, most people listening to music with a bass as part of the ensemble don't know the first thing about music. the bass, at present, has to fulfill a particular role in such music (i.e. laying down the bottom end). with the current generation of producers and songwriters creating essentially the same sort of music over and over again, the basses role will not change. IMHO the real progression in the bass field can be made in the Jazz and particularly the classical idioms, with wind bands and perhaps even orchestras. its not unknown for the bass to be featured with classical ensembles (see Patitucci's theme and variations for 6 string bass and strings), and i think its in these types of ensembles that the much-derided multi-finger techniques may perhaps find a more valid application. They are part of the bass repertoire/vocabulary and as such are as valid and as deserving of respect as any other. All the talk about bass not having the voice to be a solo instrument is, with respect, being quite short sighted. we have the range and dynamic ability to play as soloists, especially with sensitive accompaniment from discerning musicians. this may help get my point across. the Tuba in the brass band and orchestral worlds used to be viewed in exactly the same way (should just be the bottom/not a solo instrument) that view has now changed somewhat. check these out. its as accomplished solo playing as ive seen from any sax, violin or trumpet player [url="http://www.youtube.com/watch?v=mHMyrhilkdo"]http://www.youtube.com/watch?v=mHMyrhilkdo[/url] [url="http://www.youtube.com/watch?v=fYOsNp4O7AU&feature=related"]http://www.youtube.com/watch?v=fYOsNp4O7AU...feature=related[/url]

any news on the bass????

i would recommend you try warwick black label strings. they're steel roundwound but sound much fuller when new than most of the other strings ive tried. when i swapped from using D'Addarios, the difference to the sound was incredible

[quote name='budget bassist' post='648366' date='Nov 7 2009, 08:54 PM']i suspected that sounded a little good for one of those[/quote] you not like the EMG DCs sound?

[quote name='OutToPlayJazz' post='648339' date='Nov 7 2009, 08:13 PM']Hi mate, yes the Myrtlewood S2 does have the tone block It's one of the best sounding S2's I've heard. Quite polite compared to the maple topped ones I've played, but still has all of the Status sounds you want it to have. In short it's an amazing bass. I looked at a Status 6 recently on approval, but I still haven't found anything to replace the Yamaha with. That's a long term project, or another Yamaha! Rich.[/quote] id love to have a noodle on her. closest ive come to an S2 was a modulus quantum i had a look at a few months back. i looked at the TRB6 when i first switched to 6 strings. lovely piece of kit! also tried the patitucci signature model, and i really liked that, apart from the size of the heel. similar problem on the RBXJM2 ive got in my (modest ) collection at the moment

[quote name='EBS_freak' post='648275' date='Nov 7 2009, 06:20 PM']Just out of interest are they 4 strings? I find the thought of having a bottom B on a 33" scale a little alien and I would expect perhaps not the most articulate notes originating from that B. A 5 string with a high C on 33" scale makes perfect sense, especially when using it as a solo instrument... again especially if playing chords. It would be good to hear a little insight from those with low Bs on a 33". I remember I had a short bash on urbs Sei singlecut which I believe is 33 with a low B and whilst it didn't feel that alien, I wasn't in an amp loud enough to get a more accurate opinion. Also, I didn't know what gauge it was loaded with. His recordings sounds sound enough though. A few experiences shared would be good...?[/quote] i dont own one but i have played a 33" scale 5 string strung with a B and it was perfectly articulate in the low register. i think it has alot to do with the standard of the basses construction and the standard of the preamp, same as any other bass. in my experience, if its well made and has a good electronics package going through a good amp, there's no reason why it shouldnt sound as good as a long scale bass strung with a B. edit: it was strung with D'Addario nickels. 130 B string

good lord mate, you really have been through alot of gear!!! the myrtlewood S2 really is gorgeous does it have the walnut tone block i seem to remember you waxing lyrical about? you still considering getting a replacement for your TRB6?

2112

mesa boogie powerhouse 2x15

maybe worth you going all the way and getting one of the sansamp rackmount preamps rather than the BDDI. i tried one through my rig yesterday and its at the top of my wishlist!

i cant see what this bass does that a squier jazz wouldnt do equally well.....

[url="http://www.behindthenotes.com/index.php/Featured-Video/Features/Bass/Roger-Sadowsky/menu-id-17.html"]http://www.behindthenotes.com/index.php/Fe...menu-id-17.html[/url] In my experience it makes no difference. Roger Sadowsky says more or less the same thing after doing his own R&D

[quote name='Dubhghaill' post='641290' date='Oct 30 2009, 04:42 PM']Thanks for the compliments I do sometimes play in the same octave. But I would also like the option to have one octave lower. Yeah, my initial thought was just to grab another 35" Schecter. They're pretty cheap and I like the way they feel. Then I can keep my main bass in Bb and this one in F. But my main concern is whether or not the bridge, nut and pegs will be able to take the huge strings. Plus I need to make sure the neck will be able to handle the tension. Studio only, probably. And by studio I mean living room. I haven't decided a budget yet. If I go for a Schecter without having to mod it too much, I'll have enough left over for a DJ5 *drools* So, the questions are: [list] [*]Will a bolt on 35" Schecter 5 need much modification to use those thicker strings? [*]The EMG-Hz pickups are OK, but not great. I'm not sure they'd handle the low frequencies too well. Should I replace them? [/list][/quote] youl have to re-cut the nut to accomodate the thicker bottom string, and possibly modify the bridge unit, unless you're definitely using tapered core strings, in which case, the regular saddles should be fine. I think it will depend on the preamp more than the pickups, as to how well it will be able to reproduce the low F. try the HZs and see how you go on. if they dont cut it, EMG DCs should certainly cut the mustard the neck will take the tension of the F, but you'll have to set the bass up to take the altered tuning into account (action and truss rod)

sounds like a result and a half! good luck with the new band

what sort of budget are you talking here? the fundamental is audible to human ears, but to get it to anything like gig volume will require some serious equipment. are you going to gig it? or is it a studio tool? as has been said, the warwick dark lord and the conklin 7 stringers are probably your best bet unless you want to go custom

any closer to being completed????

Gwizdala, Palladino and Entwhistle get my vote

i didnt watch it, but from what im hearing, whitneys wardrobe malfunction was decidedly less than average

what was it about the bart. preamp you didnt like? im just curious i did the same thing with my 6, took out the stock preamp and pickups and had EMG DCs and the EMG 3 band parametric preamp fitted.

looking absolutely gorgeous! would have stuck with the matte finish myself. cant wait to see the finished article