Coilte

[quote name='far0n' timestamp='1328074721' post='1521354'] Why don't one of the many millionaire artists he has worked with over the years help him out ? Just a thought like. [/quote] How do you know that they are not ? I'm sure that is why the appeal was started in the first place, so anyone who felt so inclined, could donate.

@noelk27 : Notwithstanding the facts that you state above, do you not think that people might still like to donate a small amount to help an elderly, sick fellow bassist in his hour of need, regardless of the rights and wrongs of what he did, did not, or should have done ? Some here have given their reasons (valid IMO ) for donating, you have given yours for not doing so. So what if it sends out the wrong message ? People are entitled to make their own minds up on where their money goes.

I agree with you basically. When I said "they" had a choice, I meant the people here on this forum have a choice to donate or not. Granted he had a choice too. He did not choose to provide. Should he suffer as a consequence ? People's opinions will differ. So depending on those opinions they can donate or not. I'm afraid I dont see the problem that you obviously do. [quote name='noelk27' timestamp='1327930681' post='1518914'] He is a US citizen, and has spent his adult life living and working there. He, as any other US citizen, knows how the healthcare system in his own country works, and the insurances he would need to carry being self-emplyed. There is no perhaps about the situation. But, as you rightly say, he had a choice, and his choice was to make no, or inadequate, provision for the situation which he has encountered. As a consequence, he must now live with the outcome, an outcome made from his own choices. As for this thread, highlighting his appeal, it should be in off topic, even applying the most charitable of definitions of subject-matter. [/quote]

[quote name='noelk27' timestamp='1327888543' post='1518423']. His appeal, though emotional, is little more than begging, and should not be promoted here. [/quote] I disagree. Perhaps you are correct that he should have made provisions for a situation like this. It seems he did not. However, I think people are mature enough to make up their own minds on the subject, and act accordingly. They do have a choice. What's wrong with that ???

[quote name='Jayben' timestamp='1327864659' post='1517918'] I don't know what else to attribute the sudden surge of strength in my little finger to - previously it wouldn't be able to hold down the low E string particularly easily on it's own, now it's a doddle.. [/quote] Fair enough, but I'd keep the use of the gripping gadget to a minimum, now that you have achieved what you want with the pinkie.

[quote name='RhysP' timestamp='1327784663' post='1516857'] I'd also stop using the Gripmaster thing if I were you as all that's likely to do is increase the risk of tendonitis - no use whatsoever from a playing perspective. You don't need an iron grip to play a bass guitar. [/quote] I agree completely. [quote name='Jayben' timestamp='1327785048' post='1516869'] ^ Maybe not so for you, but I've noticed a distinct improvement in dexterity and grip in my left hand since I've started using it. Passages that before were messy and indistinct have since become cleaner and easier to hear properly, and generally better played. [/quote] Perhaps you have noticed an improvement in your playing, but I have my doubts that it is due to the gripping device. As RhysP says you dont need to grip hard to fret. A minimal amount of strength is required. Any good teacher will always advise a noob to have the hand as relaxed as possible. This does not happen when you grip, as the hand is tensed. Dexterity in the fingers comes from quite the opposite of grip, i.e. the lifting of the fingers [b]off [/b]of the fretboard, from one note to the next, without them getting in each others way. The gripping device does not assist with this in any way.

Another thing to consider is whether you rest the fore arm on the body of the bass ? This can be very restrictive and prevent blood flow.

[quote name='neepheid' timestamp='1327615768' post='1514415'] Yes, but the active mode on an L-2000 is just a line boost, the tone controls are still cut only, just like a passive bass (they operate on the output from the pickups before it hits the preamp) and the treble boost setting sounds horrible to me. Don't get me wrong, I really like mine (I have mine in passive mode all the time, the MFD pickups are plenty hot without the help) but it's not the same as having an active EQ which can cut and boost frequencies. [/quote] Fair enough. I stand corrected on that.

[quote name='fender73' timestamp='1327613423' post='1514340'] I've heard nothing but great things about these basses - seem to be very versatile - one question, they good for a mixture of slap and fingerstyle? Thanks Graeme [/quote] Decide for yourself. [url="http://www.youtube.com/watch?v=WT4AP58jC5o"]http://www.youtube.com/watch?v=WT4AP58jC5o[/url]

[quote name='fatboyslimfast' timestamp='1327480721' post='1511812'] should I hang the idea, sell one of them and buy an active bass instead? [/quote] I'd sell one of them and get a G&L L2000 Tribute. Great basses, and you have the best of both worlds, as you can go from active to passive at the flick of a switch. [url="http://www.glguitars.com/instruments/TributeSeries/basses/L-2000/index.asp"]http://www.glguitars.com/instruments/TributeSeries/basses/L-2000/index.asp[/url]

[quote name='solo4652' timestamp='1327601946' post='1514116'] Errrr - I'm afraid I don't quite understand your comments. You seem to be suggesting that I'm almost boasting about the tone of the USA L2000, or perhaps I've misunderstood. In my post, I say that I find the USA L2000 richer and thumpier than my past Tributes to the extent that I spend most of the time trying to get rid of the fullness. In fact, although I don't explicitly say so, I preferred the tone of my maple-necked Tribute to my rosewood-necked USA. Steve [/quote] My apologies. I may indeed have misinterpreted your post, nor did I mean to suggest that you were boasting. As it turns out, we are both making the same point, i.e. Tribs. can be as good tone wise as their U.S. counter parts. I too, have a maple necked L2000 Trib.

[quote name='solo4652' timestamp='1327596558' post='1514002'] I find my USA L2000 is even richer and thumpier than the Tributes I used to own. [/quote] I have no doubt that you do. However, a lot of people admit to not being able to tell the difference tone wise. Some even say that in some cases they prefer the Tribs.

I dont see what all the fuss is about here. It is merely an appeal for a donation. No one has a gun to anyone's head. If you think it is worth while donating a small amount, do so. If you think otherwise, then dont. Simple as that.

[quote name='chris_b' timestamp='1327587065' post='1513798'] [size=4]Chuck Rainey does bass training week ends and is part of the online session community. I hope this is just the tip of his earnings iceberg. [/size] [size=4]It seems that most of the musicians in the US, even the world renown ones like Chuck, Francis Rocco Prestia, Michael Brecker and Ryan Adams, are on very thin ice when medical bills start and earnings stop. [/size] [/quote] I think Michael Brecker is in a place where medical bills and earnings no longer matter.

[quote name='ChristopherGilbert' timestamp='1327577929' post='1513536'] Would you recommend the it to someone who is aiming to play fast/progressive stuff despite it's neck? [/quote] Tone wise absolutely. Regarding the neck, as "blind pilot" says, the best thing is to try one out. The Tribute l2000 comes with only one neck size i.e. 1.75" at the nut and 12" radius. With the USA L 2000's you can have a choice of neck sizes, the most common of which is the jazz neck at 1.5" at the nut. While the L 2000 Tribute necks are no doubt on the chunky side, I find it comfortable. A compromise you could make is to check out the G&L JB2 Tribute (see link below). While it does not have the same choice of tones as the L2000, it is still an excellent bass, great value for money and has the jazz size neck. [url="http://www.glguitars.com/instruments/TributeSeries/basses/JB-2/index.asp"]http://www.glguitars.com/instruments/TributeSeries/basses/JB-2/index.asp[/url]

Glad you have discovered the G&L name. IMO they are one of the most under rated of basses.

[quote name='JakeBrownBass' timestamp='1326287224' post='1494905'] Chords & scales go hand in hand together. You should spend equal time learning both. It's like learning to walk but with only one leg.... [/quote] At no time did I say that scales were not important. The point I was making is best explained here on one of the most reputable bass tutorial sites : [url="http://www.studybass.com/lessons/bass-chord-patterns/chord-tones-are-primary/"]http://www.studybass...es-are-primary/[/url] FWIW the legendary bassist Carol Kaye endorses the same principle as explained here. [url="http://www.abrsm.org/forum/lofiversion/index.php/t2803.html"]http://www.abrsm.org/forum/lofiversion/index.php/t2803.html[/url]

[quote name='MelP' timestamp='1326206978' post='1493792'] Thanks for all your help; it's starting to make sense now. Realistically, what should I focus on learning first - scales, intervals, triads etc? I've been playing in a band for a year now and doing ok but I want to take it to the next level. Style is rock with some blues (www.facebook.com/yWorryUK). I've been learning major and minor pentatonic scales and playing along to some blues stuff. [/quote] Glad you are having that "light bulb" moment !! While no one can deny the importance of knowing your scales, as a bassist it is CHORDS that you will play 90% of the time. So, I would recommend that you concentrate on chord tones ( triads and four note chords). That "Study Bass" site I linked is one of the best. Here, it explains why chords are important. http://www.studybass.com/lessons/bass-chord-patterns/chord-tones-are-primary/ Best of luck with it !!

[quote name='MelP' timestamp='1326205276' post='1493751'] I think you're right, thanks. Just a shame that the minor 2nd interval is the odd one out when compared to major and minor scales. [/quote] Think of an interval as the SOUND difference between two notes as well as the difference on the actual fretboard. Get the sounds of the different intervals by playing an exercise like this : Starting with C as the root, play D flat (an interval of a minor second), then play the root again and go to the major second (D) then root to minor third E flat), root to maj third (E), etc all the way up the scale. Over time your ears will become accoustomed to the sound of each individual interval.

[quote name='MelP' timestamp='1326203558' post='1493716'] Still none the wiser. Are you saying that the minor scale note numbers 1 to 8 don't have to be the same as the minor interval numbers? If so, that's a shame when trying to understand scales, chords, triads and intervals. You can tell I'm a newbie! [/quote] I think you may be mixing up intervals with scale degrees. The former is the distance between any two notes. Maybe this site will explain things better than I can. As for being a newbie, we have all been there ! http://www.studybass.com/lessons/intervals/about-intervals/

Make sure to check out the G&L L2000 Tribute. It is one of the most versatile basses there is, tone wise. If at all possible, make sure to try before you buy. http://www.glguitars.com/instruments/TributeSeries/basses/L-2000/index.asp

Tuning down a half step usually is for the benefit of vocalists and guitarists (the latter find it easier to bend the strings that way). It is not very unusual. Hendrix and SRV among others, did so. How it effects the bass guitar can vary, depending on the type of bass, and how susceptable the neck is to changes in tension. Also, depending on what strings are used, their tension, and how hard you dig in, can make for a clangy experience. My band tunes down a half step and I have not had any problems with my bass.

[url="http://www.glguitars.com/instruments/TributeSeries/basses/JB-2/index.asp"]http://www.glguitars.com/instruments/TributeSeries/basses/JB-2/index.asp[/url] The G&L Tribute JB2 would be a great one to check out.

[quote name='Coilte' timestamp='1325759422' post='1487078'] The best way to understand scales, is to know how chords are made up from them. [/quote] I had not got the time earlier to expand a little on this. I'll do so now. I am no theory expert, but I had a lightbulb moment when my teacher explained the relationship between scales and chords to me this way : Chords are made up of every other note of a scale, i.e. 1,3,5 7, etc. Take the C major scale for example : CDEFGAB .... 1 to 7 with 8 being the octave. Working our way from the bottom up, we can make up all the diatonic ( meaning consisting of only the notes of that scale) chords of the Cmaj scale. So here we go : CDEFGAB If we now start on the third note (E) we get : EFGABCD CDEFGAB Again starting on the third note of the previous line we get : GABCDEF EFGABCD CDEFGAB Here we have all the triad ( meaning three notes) diatonic chords of the Cmaj scale, reading from the bottom up, from left to right. So Cmaj has the notes CEG, Dmin has DFA etc. This also helps to explain how some chords are minor and some are major. The interval of a third determines this. If we want to get four note chords we repeat the process once more. I would not get too hung up on modes for now. A lot of people think in terms of "what mode do I play over this chord ?" Much easier to just play the chord and not think in terms of modes. When you have really taken in and digested all of the above, then by all means move onto modes. Doing otherwise is like building a house, starting with the chimney. Hope this helps a little.

[quote name='GregHughes' timestamp='1325715316' post='1486661'] Thanks. I think I need to do some more reading and get my head around the differences between the scales which will then help me understand them better. [/quote] The best way to understand scales, is to know how chords are made up from them.