steve-bbb

stopped playing back in about 95 when i sold all my stuff and didnt play at all until i bought my stone-clad trb 6 months ago - has taken about 6 months to get my fingers functioning in sync with my ear but the rest of it is like its never gone away

just to be contorversial i have this idea that if nile rodgers was to put down that tiny 6 string thing and pick up a bass he'd probably out-funk victor wooton

oh dear [url="http://www.telegraph.co.uk/culture/music/worldfolkandjazz/8402191/Who-is-Esperanza-Spalding.html"]...President Obama and Prince among her biggest fans[/url] - i do hope BO doesnt start scmoozing her the same way that Tony Bliar did with the Brit Pop crowd she seems a very modest young lady too ... her comment about stevie wonder's treatment of her song and now she cant do it herself because he made such a good job of it!

she vgood and this playing/singing at same time malarkey ... im involuntarily stopping breathing just watching her do it

thats why walking bass lines were invented - if you keep walking you eventually end up on the root or the fifth somewhere

[quote name='bubinga5' post='1349808' date='Aug 24 2011, 02:32 AM']I really like this guys playing.... great soloing on that TRB [url="http://www.youtube.com/watch?v=LGy2VEMzyeQ&feature=related"]http://www.youtube.com/watch?v=LGy2VEMzyeQ...feature=related[/url][/quote] the bass line itself is very nicely understated and modest and moves beautifully

[quote name='Pete Academy' post='1348323' date='Aug 22 2011, 07:49 PM']Amazing track. [/quote] it doesnt come much funkier than george duke with byron miller on bass and sheila e on drums

Track written and bass by Byron Miller

would be interested to hear what circuitry all you wizard peeps are using - started a topic yesterday which muzz answered and consequently did soem reading and am now becoming increasingly tempted to go for the hammer/thumper combo for my p/j build ta muchly

if youre fingers are very stretchy and bendy then maybe go for it but there are very few guitarists imo who perfect their technique by including this method - noteable exception being allan holdsworth - the overstretching thing just looks so unnatural and uncomfortable i have medium sized hands and tend to stretch as far as is comfortable or practical and then slide the whole hand position to avoid overstretching have a study of some video clips of players with smaller hands and watch how they adapt to see if you can pick up any ideas - one that seems to spring to mind is the guy in that swedish jazz band that poeple keep posting on here but the life of me i cant remmebr their name at the moments - he seems to have small(ish) hands but finds his way around a trb6 wit very little if any excessive stretching can anybody help me out wiht the band name please am having a sunday morning senior moment

[quote name='Muzz' post='1338627' date='Aug 13 2011, 12:05 PM']Well, it's all relative, but I'm a big fan of the Wizard Big P/J set - tons of output, so they might be a compromise between active and passive. Just a thought.[/quote] thanks for the tip i used to have a status matrix which had the P+J config and i liked that config and the range of sound available from it the p/j combo looks nice but then so does a thumper/hammer combo [url="http://www.wizardpickups.co.uk/shop.asp?category=Bass"]http://www.wizardpickups.co.uk/shop.asp?category=Bass[/url]

so whilst the cutting/milling/sanding/lacquering process of my single piece of elm is still in progress i can be researching which pickups and tone circuits to purchase anybody help point me in the right direction of how to make a choice on this - i know ultimately its down to my own ear and what sound i like but i want to make some comparisons of reviews/prices etc the only constraints are .... would prefer active tone controls but wouldnt rule out passive - have decided i want best of both worlds and am going to go for a P+J pickup config rather than a J+J (the body is a J shape cut form a single slab of 30 year old elm) which will have a maple bolt on neck(4) ta muchly

[quote name='scalpy' post='1338467' date='Aug 13 2011, 09:34 AM']I depped for a band, straight ahead pub rock stuff, only one bass moment in two hours, which I put a lot of work in for, learning the songs in funny keys because of the singer. Got to Alright Now, it's a well worn tune true but it is a fantastic bass moment just before the long full edit guitar solo, but he doubles the bass line before the foot on the monitor bit. Annoyed.[/quote] did he whip his hair back and forth?

you have two bass players?

[quote name='lojo' post='1336542' date='Aug 11 2011, 03:35 PM']For those that play covers, are there any classic songs which have basslines you'd love to play but would decline for fear of not doing a good enough job For example, id love to play "hit me with your rhythm stick" and "forget me knots" In the past i've agreed to play lines that I thought might be beyond me, but with practice i've pulled them off to everyones satisfaction, but the issue is still there Anyone else have this ?[/quote] you read my mind - was talking to our drummer only the other day and suggested we should do rhythm stick - i think with songs like this its a case of if its within your ability then do it strictly as per the record - if not practice until you can or choose another song - but with rhythm stick its such a funky flowing little number it will most certainly be worth the effort as it is a real crowd pleaser

never mind fragile stickers id prefer to get some good locks on it that couldnt 'accidentally open' when it gets 'accidentally dropped'

lovely id hate to bring up the dreaded 's' word but 1:16 anybody? i guess it must the exuberance of youth and all that jazz - but in the bigger picture... 9.8/10 because the trb sounds absolutley luuuuuuusssssh

[quote name='Tlbasss' post='1330441' date='Aug 6 2011, 11:01 PM']Surfed into this thread - stayed for the full 45 mins! [/quote] innit

[quote name='Len_derby' post='1330839' date='Aug 7 2011, 12:18 PM']So, [b]in my experience[/b], you get a better overall sound by moving a greater proportion of your 'spend' over to the amp and cab. So, I think your plan is a good one.[/quote] AND if you go for a hartke you get serious bang for your buck without shelling out huge amounts of beer tokens recommendation for gigging for anybody wanting a good solid clean sound and tone whilst watching the budget would be a squier P or J and a Hartke combo

well as much as im always ***hearting*** my yamaha, i must also confess to a soft spot for the squier P my mate Lee is giving the trb a much needed thorough setup at the moment and as i have a few rehearsals and a gig tomorrow her lent me his squier P put it through my harke with just the single 15 and left off the 4x10 - nice tone - a joy to play - in fact im totally gobsmacked - in fact im almost tempted to say it sounds better than my trb but maybe not quite but not far off

if you have access to a vice or clamps or similar tools you could try a home repair by removing the whole machine from the head and glueing the two pieces back together using a two pack epoxy resin metal glue - some of the epoxy glues are extremley strong and should hold this ok if you get a good alignment and glue fill

Crowbait clamouring Dark and hard Penned in, pack of lies Plaza yard Barefoot, blubbering 'What's your name?' Front fork buckled up Pump and chain Jo Burt picking a fretless P

[quote name='bobogib' post='1327457' date='Aug 4 2011, 05:13 PM']LOL, going to be fun for me "Hi, I'm looking to buy a bass" "Feel free to try a few out" "erm, i've never played one before."[/quote] isnt that what the sex pistols tried to kid us with all those years ago?

bugger and you lot are usually sooooooo easily distracted by yet another slapping thread oooh look over there .... shiny formula one

ok so youve finished work early to get down the music shop before they close for a quick slap are your chops improvised? or do you have any particular learnt lines that you like to dazzle and impress with?