Doddy

[quote name='dougal' post='1181998' date='Mar 30 2011, 11:22 AM']Anyway, they're all tools to get the job done. And I'm convinced Joe Public wouldn't be able to tell which bass is used on a track unless it was used to bludgeon him to death shortly thereafter.[/quote] Neither can 99.9% of bass players. Good point about the pictures as well. The fact that the picture of the Hohner Jack is clearly a 6 string guitar is unforgivable.

I've got one and have used it,but I'd much rather use my upright. It sounds and looks so much better than an acoustic bass guitar.

[quote name='mep' post='1181375' date='Mar 29 2011, 08:45 PM']I wonder what the view from behind her is on stage? [/quote] I believe it would be awesome. But only if you can control your muting technique while slapping.

[quote name='Pete Academy' post='1181340' date='Mar 29 2011, 08:27 PM']Er, yeah...totally agree, Paul. [/quote] I'm not that confusing am I? Or is it the distracting beauty of Elizabeth Huett?

[quote name='mep' post='1181329' date='Mar 29 2011, 08:24 PM']Doddy's new avatar is in response to the [i]hot chicks as avatars [/i]thread that is going strong at the moment [/quote] That and the Taylor Swift concert on the BBC thread here...... [url="http://basschat.co.uk/index.php?showtopic=129159"]http://basschat.co.uk/index.php?showtopic=129159[/url]

[quote name='chilievans' post='1181310' date='Mar 29 2011, 08:16 PM']I knew you'd be along to help Doddy So you rest your unfretted fingers on the unplayed strings to keep them quiet[/quote] Basically yeah. If I'm playing octaves between the E and D strings,I fret the E with my index finger and the D with my little finger,while my ring finger mutes the A string and my index finger near the knuckle mutes the G. If I'm playing between the A and G strings,my ring finger mutes the D and my middle finger mutes the E.

I don't know what your technique is like,but when I'm slapping the majority of my muting comes from the left hand.

Stanley Clarke has a Bigsby on one of his Alembics too-it's on the cover of his last album. Yeah,Claypool does use a Kahler,as does Victor Wooten

I don't think there are any that I would recommend that cover he range of beginner to expert. Nathan East 'The Business of Bass' is really good. Victor Wooten 'Groove Workshop' has some really good stuff in it.Jeff Berlin 'Bass Logic from the Players School' is interesting,he speaks a lot of sense. Jaco Pastorius 'Modern Electric Bass' is good. Billy Sheehan's old videos 'Bass Secrets' and '..On Bass' are good. Alexis Sklarevski 'The Slap Bass Program' is cool. Rocco Prestia 'Fingerstyle Funk' is good. Rufus Reid 'The Evolving Bassist' is excellent. The thing with DVD's is that many of them are really more entertaining than they are educational. Sure,you may pick up the odd fancy lick or something, but most of them are just good fun watching a favourite player do their thing. Some of them are dreadful though (I'm looking at you Flea,with a glance towards John Entwistle). I've got loads of DVDs and Videos,but they are no substitute for a teacher. I'm waiting for someone to do a bass equivalent of Tommy Igoe's excellent drum package 'Groove Essentials'.

I'll go wherever I'm told. My preference is stage left,but it's no big deal. It depends on how big the band is and how much room there is.

Way

Yeah,that's the old BP transcription. Like you said it's basically a blues,but with more jazz blues harmony.Mostly with the use of III,VI,II,V changes-in this case Dm7 ,G7,Cm7,F7.

I finally picked my copy up today,and all I can say is.........lame. Geddy on the cover due to half a page talking about his Ric and Jazz? Pointless. Interestingly....in the 65 basses article,it says that the Carl Thompson $10 million bass was made for Les Claypool. Wrong. It was made to be the best instrument he could make and is owned by a guy called Wes.

[quote name='Bilbo' post='1180972' date='Mar 29 2011, 04:14 PM']Got to see videos of TK lunchtime at the local library. Not overwhelmed by the electric playing but the double bass playing was a little more interesting. Not a must see player, though.[/quote] I think he is a must see player. His whole approach just does it for me-I seriously put him up there with guys like Patitucci.

There was a full transcription of Jaco's line in the September '97 issue of Bass Player. It's a great line.

Hey. I appreciate you're confidence and everything,but I'd be inclined to change the main photo on your website and add some information about what you've done and what you can do(reading etc). Paul.

[quote name='scruffynerfherder' post='1180825' date='Mar 29 2011, 02:34 PM']im not new to bass, but new to attempting and studying slap as a technique so my knowledge of good and great slap players is limited to the bands i listen/ed to. there are a few that spring to mind but the only players who introduced me to the technique was probablyflea or even fieldy at a push from back in the day when i was really into all the heavier stuff so havent had much to go on. thats partly why im on the forums, to expand my knowledge past my taste. so all input is welcome[/quote] Check out guys like....Marcus Miller,Stanley Clarke,Larry Graham,Louis Johnson,Victor Wooten,Alain Caron, Dave LaRue,Vail Johnson,Ray Riendeau,Stuart Hamm. They might not play the kind of music that you would normally listen to,but they have all got the slap thing down,and are technically miles ahead of Flea and Fieldy.

[quote name='BigRedX' post='1180707' date='Mar 29 2011, 01:07 PM'][url="http://www.loewenherzbass.com/english/model_00907.htm"]Why stop at 5 when you can have 12?[/url][/quote] Pffft..... How about 16 with a little keypad to select them? [url="http://www.atlansia.jp/OXFORD.3.JPG"]http://www.atlansia.jp/OXFORD.3.JPG[/url]

I've put DiMarzio Ultra Jazz pickups in my main Jazz.I've also got a series/parallel switch,which gives more tonal options. I run it through a Sadowsky outboard preamp,and it sounds killer. Bearing in mind that Sadowsky's pickups are (were?) slightly modified DiMarzio Ultra Jazz,those and the Sadowsky preamp work together really well.

I've just come back from the Stern gig at Band on the Wall in Manchester. Unfortunately my lesson with Kennedy fell through,but the gig was immense. Tom Kennedy's sound was great-really clear and punchy-and what an awesome player. He grooved like crazy and has killer chops. Weckl,Stern,Kennedy and Malach playedwith some serious intensity at times and seemed to be really enjoying themselves. They were a frighteningly good band. I saw Stern the other year(in a much bigger venue) with Weckl,Chris Mihn Doky and Randy Brecker. That was a great gig,but tonight was just so much better. One of the best gigs I've ever been to,without a doubt.

[quote name='Rayman' post='1179677' date='Mar 28 2011, 04:12 PM']I understand fully the argument with regard to bettering ones self technically as a player and understanding theory etc, however one has to ask why you picked an instrument up as a kid in the first place? Is it because you wanted to be proficient in musical theory, and technically brilliant as a player? Or was it because the music you first heard stirred enough emotion inside you to make you say to yourself "I want to play music like that". For me it was the latter, and my only motivation to play today, some 30 years since I first picked up a Columbus Jazz for the first time, remains the same. Emotion, and love for music, of many different styles. For me, it's emotion and feel first, technique second, and theory some way behind that.[/quote] I know where you are coming from,but for me the want to become proficient in theory and to be come a technically good player came not long after I had started playing.Although the love of the music and the feel and emotion is vital,by advancing my technical and theoretical side it allows me to express the feel and emotion so much easier and better. As far as old farts.....I've just come back from the Mike Stern gig in Manchester. 4 players (Stern,Dave Weckl,Tom Kennedy and Bob Malach) all in their 50's,playing with so much energy,feel and technique that it puts much younger bands to shame. They were,frankly,awesome.

[quote name='Pete Academy' post='1179973' date='Mar 28 2011, 08:29 PM']Engl amps are amazing.[/quote] Do you know of any shops that sell Engl amps Pete? Perhaps in the Stoke on Trent area? I've got a couple of deals which is cool as they make great gear. I got the Spectraflex deal after using their cables for a few years,and the iGig deal came after I spoke to the owner of the company. I was offered an amp deal last year with a certain popular Italian manufacturer after talking to the rep at Bass Day, but turned it down as I wasn't particularly happy with the deal that they were offering. I also wasn't using their amps and didn't feel the need to change.However,I've recently been speaking to the founder of another amp company who's amps I have been using for a few years now,which is looking quite promising.

Good post Bilbo. It's so true that having good 'musical knowledge' often means knowing who played Tibetan nose flute on some record,rather than what notes make a C chord.

[quote name='scruffynerfherder' post='1179114' date='Mar 28 2011, 08:29 AM']Ive cracked on with a video i found on youtube of flea sowing his technique. ive been practising the octaves constantly and slowly..but surely its coming along. strength seems to be an issue as prolonged playing is difficult but im gettin there now, thanks guys. good stuff[/quote] I'll be honest,I wouldn't recommend watching Flea to pick up slap technique. He uses the thump down approach,which I find to be a rather inaccurate way of slapping. It makes it difficult to thumb the higher strings as you will be hitting the strings below it,and you are pretty limited to alternating octaves. I would suggest looking at some of the great thumb players-Marcus,Victor,Stanley,Larry Graham etc. and look how their hand positions. They use the thumb either pointing up or across the string,which allows for more accuracy on all the strings.

[quote name='munkonthehill' post='1178258' date='Mar 27 2011, 01:37 PM']i was told on Friday that a bass line that the guitarist wanted me to play HAD TO have an open E in it. it was just a cover of some song. I told him nah I dont really use open notes,,,,,there was an awkward silence,,,I was then instructed,,,but its an open note thats played![/quote] Unless you are playing a five,how else will you play the low E? Unless of course you are detuned,in which case you will have to fret the E anyway. I don't get why you wouldn't use open strings? It's just another place to play a note which may be easier than shifting to it's fretted equivalent. Why limit yourself to what notes you can and can't play.