Doddy

[quote name='Mr. Foxen' post='1163555' date='Mar 15 2011, 07:35 PM']Polyphonic octavers like the POG digitise the signal, basically, you reduce it to 0 or 1, and then measure the gap between 0 and 1 and calculate the frequency from that, and use that to tell a synth what note to make. It is more complicated than that inside, but that is the general principle.[/quote] I'm still confused. I know the the POG is digital,but I don't know what DSP is or A-D converters are?

My first proper gigging amp was an old 100 Commando. It was cool,but it became too underpowered for what I needed. I find that Trace Elliot gear had a certain sound,whether you used a little Boxer combo or a full stack.

[quote name='Mlucas' post='1163460' date='Mar 15 2011, 06:21 PM']I know all the notes on the E and A strings and could point them out pretty quickly but I have never actually bothered to transfer it to the upper strings simply because I prefer the tone I get off moving up the fret on strings instead of switching to the higher string. I'm weird I know.[/quote] Playing octaves must be a right bastard for you. Seriously though,get it sorted on the upper strings too-it will make life so much easier. You've got four strings,don't limit yourself to just two.

[quote name='OzMike' post='1162645' date='Mar 15 2011, 05:02 AM']DSP-based pedals like the POG won't have this issue unless the input to the A-D converters is artificially bandwidth limited.[/quote] I have no idea what any of this means

Just plug a cable between the tuner socket on the amp and the input on your tuner. The tuner socket normally is still active when your amp is muted so you can silently tune up. If you've got a pedal tuner,I'd keep it on the floor. I'd only use the tuner jack if I was using a rack mount tuner or one of the plastic 'table top' ones.

[quote name='Starless' post='1163163' date='Mar 15 2011, 02:44 PM']Shapes. Shapes. Shapes. Get to know a couple of major/minor scales and arpeggios. Recognise what the root note is (don't bother with the rest) and then just play, play, play along to fav songs you know the chords to. Up the way, down the way, start in the middle of the shape and then go up or down. Doesn't matter, don't practice as if you were performing bass accompaniment, play as if you were trying to P-off the singer/guitarist by getting in the way all over the song. Remember the shapes. Keep doing the ones that sound good, forget the ones that don't work and play, play, play. Reading music, whilst being thoroughly commendable, is irrelevant. If you're looking at dots on a sheet, then you're not improvising.[/quote] I'm going to argue a couple of points here. First of all-Shapes. You will get far more out of it if you learn notes rather than shapes. Eventually you will recognise shapes and patterns,but don't learn scales and arpeggios based on shapes.Learn a shape and you can play a shape-learn the notes and you can play anywhere on the fingerboard. Next,'Recognise what the root note is (don't bother with the rest)'-No. Start off by recognising the root,but then identify if it's major or minor. If you just know the root and don't bother with the rest of the chord,you are setting yourself up for playing wrong notes.You should learn the basic harmony. Finally,reading is not irrelevant. If you can read,you are open to more material to study,and will be able to look at the actual notes within the scales and chords,and not just blindly following a fingering pattern.

Initially,I'd play the chords as just a double stop as either a 3rd or a 10th. You can drop some notes if all they are doing is doubling another note. If you want a third note,maybe try to add the fifth(although it might not be essential). On piano it is easy to play denser chords,but on bass you need to be more economical,and strip it down to the essential notes.

It's just practice like everything else. If you run scales and say the notes,it helps(as has already been said). I have reference notes on the neck-if you know where ,say, every C is you can reference the notes around it easily. Even if you play chromatic scales and say the notes out loud,eventually it will become quicker. I honestly believe that there is no excuse for not learning the fingerboard-it's a fundamental part of the instrument.

[quote name='burray' post='1162979' date='Mar 15 2011, 12:43 PM']I had years of lessons back in the day (I'm only 26, but this was still a while ago) and I can read notation but have never used it for the bass. I've always used tab.[/quote] In that case...... Take lessons and learn to read music Seriously,if you can read why haven't you applied it to the bass? I'm a pro player,but I still take lessons whenever I can. You'll learn way more by doing that than by just copying a few licks and riffs. Edit..... If you don't know the fingerboard,learn it......no excuses.

In the situation you mention,I'd be more likely to just play a double stop of A and C without the octave A. You can either play it close voiced or you can split it and play it as a 10th. You'll still get the flavour of it being A minor without the extra A. As far as other chords go,if you know the notes or intervals it's pretty easy to work out chord voicings. If you take a simple C major chord,the notes are C,E,and G,so you can (hopefully) easily find that over the top three strings. If you move on to 7 chords,you can often leave out the 5th and still define the chord just by playing 1,3,7. You can also raise the 3rd up an octave so you are playing 1,7,10, which can give a fuller sound to the chord.

A couple of guys I know are using Red5 drum mics. They're really good and pretty cheap too.

[quote name='gareth' post='1162150' date='Mar 14 2011, 06:49 PM']With respect, judging by your profile you were under 10 in the 80's which to me was like a musical desert - level 42, mark (bl..dy) king, shakatac, electric drums, keyboard bands, etc, etc You cannot possiby have any idea of what it was like, truly [/quote] Oh!! Like has been said there was a lot of good stuff coming out in the '80's. I think that there has been an abundance of rubbish over the last 10 years,but it wouldn't make me want to give up because there is also a lot of great stuff out there.

As something like iGig is way out of your price range,have a look at Protection Racket. I've had one for years and it's still in good nick. There is a reason why so many drummers use them.

[quote name='gareth' post='1162102' date='Mar 14 2011, 06:08 PM']The main reason I gave up bass playing for some 20 years, cannot stand it. Always lost in the mix and if it is'nt who wants to listen anyway? Bass is all about soul and feel and about restraint and choice of the right notes for the right context Rant over and just IMHO[/quote] That's a pretty fickle reason to give up-because you don't like slapping. You don't have to do it. It only gets lost in the mix if it's EQ'd badly,and it's popularity suggests that lots of people do like listening to it-just not particularly the 'fast chops for no reason' stuff,but even that has it's place. Bass is about restraint in certain contexts.In others,it requires business and maybe even slapping. You can still play with soul and feel and with the right notes when you use your thumb. Contrary to popular belief,you don't have to play fast octaves in E minor.

[quote name='EBS_freak' post='1161277' date='Mar 14 2011, 02:48 AM']Btw, is anybody else in agreement that Nigel Clutterbuck is unique in the fact that his surname sounds like his playing?[/quote] Yep.....I said that in the hate slap thread

[quote name='JellyKnees' post='1161476' date='Mar 14 2011, 10:21 AM']For example, I think there's a huge difference between the way Mark King and Marcus Miller play slap. Marcus Miller has a real lightness of touch and is so in the groove - he is great at slapping and plucking [i]around[/i] the drums whilst leaving lots of holes to let the music to[i] breathe[/i].[/quote] While I agree with what you say about Marcus' groove,his touch isn't light. It's seems lighter now than it was a few years ago though. He really hits the strings hard hard. If you've ever stood in front of his amp you can feel every slap.Read what his tech said in an old issue of BP....he mentions about how hard he plays.

[quote name='hellothere' post='1161237' date='Mar 14 2011, 12:17 AM']Do any Fender's not have the fender logo on the headstock?[/quote] Not that I'm aware of.

I'd go with the pickups first. I dropped in a set of DiMarzio Ultra Jazz and they made a huge difference-especially with a series/parallel switch. If you want more,maybe try an outboard pre amp.

[quote name='hellothere' post='1160715' date='Mar 13 2011, 05:15 PM']And Doddy what makes tabs so evil?[/quote] [quote name='skankdelvar' post='1160726' date='Mar 13 2011, 05:21 PM']Don't go there. More than enough threads on this issue. [/quote] [quote name='risingson' post='1160731' date='Mar 13 2011, 05:23 PM']Please nooooooooo! Not another thread discussing the merits* of notation and the evils* of tab (*switch as applicable)[/quote] That says it all

[quote name='chugster' post='1160429' date='Mar 13 2011, 01:16 PM']I think my problem is not actually finding lessons but finding out what order I should learn things in order to increase my understanding. Its easy to find lessons on scales, chords, triads, etc but no-one says "Learn this, then this will lead you into learning this, and so on...". I guess I'm looking for a structured course rather than individual lessons.[/quote] That's why a good teacher is always a better option

[quote name='ezbass' post='1160479' date='Mar 13 2011, 02:07 PM']Interestingly Mark King made mention of the din in the hall and his dislike of it. Now which UK player is probably more responsible for 'that' style of playing? Hmm........[/quote]

[quote name='Jobo Pooks' post='1160517' date='Mar 13 2011, 02:51 PM'] I didn't think I'd find the three stooges so early on in my membership. Keep up the good work lads...or is it girls? [/quote] Oooohhhhh bold early post. Fair play. You'll soon realise that I can't stand tablature and will always recommend a combination of learning to read and ear training instead.

*Shakes head. Walks away*

[quote name='faiz0802' post='1159570' date='Mar 12 2011, 05:18 PM']Also, please note that in the above links, the skill level of the MI book is Beginner and the Bass Builders book is Intermediate. This is explained in the links in the Skill Level section as well. Hope that helps. Regards, Faiz[/quote] Really? Both those books really start at the basics then progress so I wouldn't class the Bass Builders book as intermediate and the MI as beginner- They both work on pretty much the same level.

I'd send her to another teacher......she's more likely to listen to them than to you.