Doddy

[quote name='wateroftyne' post='1190751' date='Apr 6 2011, 05:57 PM']Hasn't Jim just scrapped the ceramic range? Does that mean he's selling nowt now?[/quote] He said that although he was stopping the ceramic speakers it would only take a couple of phone calls to get them into production again.

[quote name='Graham56' post='1189893' date='Apr 5 2011, 11:14 PM']What I am not doing is stretching myself into areas where the band doesn't go.[/quote] Why is that?

[quote name='4 candles' post='1188424' date='Apr 4 2011, 10:20 PM']Typical case of "jazzers" (did you studdy at leeds??) the most respected players on this forum cant help us mediocre guys out They both slate mondance, but when tasked in writing an alternitive or "better line" to educate some new blood on a forum , they disnmiss it! surely you legendary players/mentors wont deprive "willing students" of a good lesson in walking just because your predjudice of van morrison gets in the way? I know for a fact, bilbo can play, I regulary play with a keys player whom plays with bilbo who tells me that bilbo is "a cat" common guys, breathe and share some of your tallent. Regards Mark[/quote] A couple of quick points... I've got no problem with Van Morrison,and I can take or leave Moondance as a song. I didn't study at Leeds (or anywhere for that matter) and although i play as much jazz as i can,the majority of my gigs are pop/rock/funk so I wouldn't refer to myself as just a 'Jazzer'. Now,if you want to hear good walking lines,listen to guys like Paul Chambers or Ray Brown-you'll get more from that than from me or Bilbo writing an alternative line to Moondance. Derren is right when he says that it's not strictly a jazz tune. The problem (and dislike)comes when it is classed as a jazz number and played by any number of 'jazz' groups. When it's placed in that category,then it becomes judged against the great jazz bassists,and that is where it will always fall short. Besides....I've got no way of scanning a manuscript

My favourite is the EMMA Electronic ReezaFRATzitz. I tried out a bunch of distortions,and that was my favourite by a long way. I've got a Bass Big Muff too,but it doesn't get much use.

I think the weight question is pretty fair. There can be quite a big range in weight,even in the same model,so I don't see the problem. As far as the guy who came and didn't want it.... I think that is fair enough.You don't want to buy something if you are unsure. I think asking to be picked up and dropped off is taking the mick though.

[quote name='paul_5' post='1187748' date='Apr 4 2011, 01:52 PM']Awwww, don't be unkind Doddy, play nice. [/quote] I am being nice

[quote name='Bilbo' post='1187411' date='Apr 4 2011, 09:17 AM']No.[/quote] I'm not going to do it-the same way as I'm not going to rewrite Adam Claytons basslines with U2,just because I don't particularly like them. I think a better challenge would be for the OP to write the line out again using proper notes.

First of all,a big thing for me is the term 'practice'. Practice is what you do at home in your own time. When (if) you get together as a band you should 'rehearse' and tidy up things-there's a big difference. You shouldn't be walking in to rehearsals and learning the material-it should be learned before hand.That is,of course,assuming that you are going to rehearse. There is a very high likelihood that you won't be rehearsing at all.There is every chance that you will walk into the gig and be expected to know the material. If it's not with your regular band you are expected to know the 'standard' songs, maybe even read the charts or have big ears and be able to busk.

Just buy a copy of 'Modern Reading Text in 4/4'. There are plenty of rhythmic ideas to keep you going for years.

[quote name='LawrenceH' post='1186913' date='Apr 3 2011, 06:11 PM'](I'm just a weekend warrior though! Doddy tends to come at this from a working pro perspective),[/quote] Yep....Exactly. [quote name='stingrayPete1977' post='1186966' date='Apr 3 2011, 07:04 PM']I dont think the genre of music makes any difference at all and if you only play with one group 100% of the time and none of them read there is probably little point from a giiging point of view to read but you dont need to be a pro player to mix in circles where you can get called last minute to play a gig where all they can give you is the key or some notation, Its fun and often the way of getting to know the next bunch of people to play with as most towns have a group of muso's that appear to be in every band in one way or another which I love[/quote] That's a good point. I don't buy the whole 'my band doesn't read/know theory so I don't need to' argument. It gives you a whole new perspective on things and opens up so many more options to the player,be they gigging or educational wise. [quote name='stingrayPete1977' post='1186966' date='Apr 3 2011, 07:04 PM']Doddy knows how bad a player and reader I am but I like to be thrown in at the deep end so whos the biggest faker now? You just have to stay one step in front so they dont catch you out.[/quote] You're not a bad player,and you're reading is coming on. You want to try to keep as many steps ahead as you can. You may be able to be stay one step ahead of some people and get through a gig,but then you have to consistently keep it up. If you fail to do this,that is what I would class as a 'faker'.

[quote name='skej21' post='1186839' date='Apr 3 2011, 05:02 PM']I think reading is useful for LOADS of reasons, and the OP should definitely learn, but just make sure that you don't neglect the ear training bit or expect that your ear will develop through reading without any extra work.[/quote] That's why I said do both earlier on. The problem is there are a lot of people that will dismiss reading for whatever reason and others who have never trained their ear for whatever reason.Neither is exclusive and both will help each other. Having said that,I do believe that a certain amount of theory knowledge will help your ear no end,as you can use it to preemp what is going to happen-but again you use it in conjunction with your ear/reading.

[quote name='hellothere' post='1186770' date='Apr 3 2011, 02:56 PM']Fair point but I imagine that is normally in a jazz band or proffesional work, rather than in a cover band. I know reading music and having a good understanding of theory is a good thing and is very useful but it dosn't mean anyone who just has a basic understanding of theory and is half decent at playing is a fake. At least not in my book.[/quote] I never said they were. I was just making the point that there are plenty of situations where you do need to know stuff and couldn't fake your way through- If you don't know what you are doing and can't cut it,you get sacked. I've played with cover bands where everything is written out aswell.

[quote name='hellothere' post='1186741' date='Apr 3 2011, 02:26 PM']It's not how you learn things it's how good you sound. No one cares if you can't read music or understand theory if you come up with good basslines and play well live. Of course theory, reading, etc help alot. Fakers my arse.[/quote] It depends on what the gig is. There are plenty of gigs where people will care if you can read or understand theory.

[quote name='BottomE' post='1186702' date='Apr 3 2011, 01:25 PM']All musos are fakers to some extent.[/quote] But you can eliminate a hell of a lot of it by having your stuff together.

[quote name='bassace' post='1186612' date='Apr 3 2011, 11:36 AM']It also depends very much on the bass player's tecnique. A ballad is a very satisfying thing to solo on, especially if you have a bass with a nice sustain. Mid tempo stuff is also quite do-able, in fact that's often my preference. The problem is with the up-tempo stuff. I find no satisfation in playing or listening to an extension of what you've been playing under the choruses - ie an up-tempo walk. Better to play 'horn phrasing' but you need [i]very[/i] good technique to pull that off.[/quote] Totally agree. I don't like the up tempo walking solo,good phrasing is so much better.

[quote name='Fat Rich' post='1186545' date='Apr 3 2011, 10:06 AM']Most of the top players say that to really improve you have play music with people far more talented and musical advanced than you're current level. This involves being a faker and seeing if you can get away with it [/quote] Depending on the guys that your playing with,you may not be able to fake it-or you may be able to once or twice,but that's it. If you feel like you don't belong in a situation you won't cut it,and if you do you have to prove it. Get your ear together-turn the radio and play along to everything. Also learn to read,even at a basic level-it will make a huge difference to your playing.

[quote name='LawrenceH' post='1186396' date='Apr 3 2011, 01:24 AM']I kind of agree with both you and Doddy, even though you disagree![/quote] I think that's a cool thing though. Jennifer prefers soloing over ballads and I prefer soloing over mid-up tempo tunes. It's just a different way of approaching things.

[quote name='Jerry_B' post='1185969' date='Apr 2 2011, 05:17 PM']I mentioned the banjo as a bloke I used to know would sometimes use what looks like a similar technique, but use his nails to play along with what the thumbpick was playing.[/quote] Yeah,that's Scruggs style where you use thumb and two fingers(index/middle) with or without thumb/finger picks. This guy is more like the guitar style of normal pick playing with fingers added-similar to what the Nashville guys call 'Chicken Pickin''.

[quote name='Jerry_B' post='1185880' date='Apr 2 2011, 03:23 PM']Yep, I thought it was like a guitar playing style - or banjo even. Interesting to see it being applied to a bass...[/quote] Not really banjo technique. Victor Wootens (and sometimes Stu Hamms)slap approach is more influenced by the Scruggs style of banjo playing.

[quote name='Truckstop' post='1185771' date='Apr 2 2011, 01:32 PM']I actually particularly like acoustic/URB solos in a jazz setting. It's nice to hear a solo from something that isn't harsh like a trumpet, sax or organ. If the accompanying musicians manage to keep the groove going, it can be very satisfying.[/quote] I think that is an important point. There are a lot of times when during the bass solo the only thing happening is very light hi hat playing. I personally like it when the rest of the band comp behind the solo.Bring the volume down a little if it's an upright solo,but keep the intensity and swing. I find I can solo better that way as I can play off the other instruments,rather than being left to my own devices.

[quote name='ras52' post='1185585' date='Apr 2 2011, 09:39 AM']I agree with your disagreement :-) Some of the best solos, yes, but also some of the worst! I'm thinking of gigs I've seen where the bass player puts in a half-hearted solo, leading me to think that he'd rather not but that the form and/or bandmates required it.[/quote] Then that is purely down to the ego of the particular player. No one has to solo on ever tune if they don't want to or aren't feeling it.

[quote name='Spike Vincent' post='1185439' date='Apr 1 2011, 11:54 PM']The style of music played may not require fiddly bits.[/quote] That doesn't mean you should purposely avoid certain strings.

[quote name='risingson' post='1185404' date='Apr 1 2011, 11:03 PM']it's a great thing to be able to be unhindered by the full fret board of both guitar and bass.[/quote] This. Why would anyone want to limit their use of the instrument?

[quote name='ras52' post='1185298' date='Apr 1 2011, 09:37 PM']But often it's the opposite, very formal: we play the tune, everyone takes a turn at playing a solo, then we play the tune again. And it's that context that you're likely the find the least inspiring solos - bass or otherwise.[/quote] I'm going to have to disagree here. Some of the best solos have been in those formal confines. Miles,Coltrane,Hancock, Metheny,Brown...they've all played brilliant solos within the head-solo-head format. As far as not liking bass solos,that's up to you. However,I would never call guys like Paul Chambers,Scott LaFaro,Ray Brown, Charles Mingus,Oscar Pettiford and NHOP unexciting. Is it just the Upright guys whose solos you don't dig or is it the electric guys too-guys like Patitucci,Jaco,Mark Egan,or Gwizdala etc?

[quote name='thumperbob 2002' post='1185231' date='Apr 1 2011, 08:25 PM']Moondance. Pretty successful record and whilst not musically perfect people love it. I have seen them dance to it. Never seen that of so what. Think it is better to be positive about songs, bass players etc than just detail the musical imperfections. Opinions are one thing but negativity, especially in music is not for me.[/quote] I'm all for being positive,but that doesn't stop Moondance from being a bad example of a walking bassline. In fairness,nobody is arguing about if people dance to it or not,it's about constructing a walking line over one chord. In that respect 'So What' is a great example.'Moondance' is not.