Doddy

Whatever..... as soon as you fret a note the nut makes no difference. Even on an open string it's a pretty minute difference.

[quote name='TheGreek' post='1127599' date='Feb 14 2011, 08:44 PM']Have you thought about Cruise Ships?? a friend of a friend does this (vocalist) - from what I understand, I don't have the details, he seems to do alright...[/quote] Depends what you want to do on them. If you're in a band,you may be hired to do what you do for a short run,but if you want to be in one of the main bands you'll need decent reading chops and real versatility.

Yes you can do a full time cover band,I know a bunch of guys who do. You're not going to hit big money functions straight away,and you'll end up playing a lot of pubs and clubs around the country.That's great,but if you are travelling around you want to be earning more than the standard pub money.Why should a club pay you £800 rather than their regular £150-200? You need to have your stuff together both on stage and off. Is one of the band going to be in charge of all the bookings, or are you going to go through an agency? Would you be prepared to play at holiday camps? Could you get a call from a venue or agency in the afternoon asking you to be 200 miles that night,and guarantee that you will all jump in the van and go? It's do-able.....I've done it myself. I joined an established band,and later on I formed my own and did all of this stuff. Now,I work freelance and gig all the time in various situations,which requires a whole other set of skills. Oh yeah.....I've never had a day job.

It's also worth noting that Stanley Clarke won best contemporary jazz album

I use a Guyatone Phaser. It's really cool and diddy. To be honest,I don't think True Bypass is as important as some people make out. If it's a decent pedal,it'll usually have a good buffer.

[quote name='squire5' post='1126974' date='Feb 14 2011, 01:08 PM']The Ultimate GS-100.It supports the instrument by hanging it from the headstock.Much like the Hercules,but cheaper.I got mine for £15 from Argos.[/quote] You forgot to mention 'better'. I've been using the Ultimate stands for years. I really don't like the Hercules ones.

Great stuff. Esperanza has got it going on.

[quote name='CHRISDABASS' post='1126981' date='Feb 14 2011, 01:12 PM']Im glad you mentioned 'Aint nobody' ive tried to it learn on a 4 and it just aint working!! Hence the search for a decent 5 string for the new function band! A lot of the songs ive been asked to learn go lower than a 4, if i want the job i need the right tools, can anyone recommend good 5's below £1000??? [/quote] Even though I use a five most of the time,I still play 'Aint Nobody' up the octave and use an OC2 to get a more synth like octave sound. Good 5's for under a grand? Go secondhand. I got my Roscoe LG,Tobias 6 and Shuker Singlecut for under a grand. I also manages to get my Fender Jazz 5 Deluxe for £350.

[quote name='Hamsalad' post='1126406' date='Feb 13 2011, 08:41 PM']He's not tuning up, he's taking E A D G B tuning (essentially just a guitar minus the high E) down two tones.[/quote] No he's not. Taking it from where you say,the E is dropped by two tones and the rest are dropped by one. However,as a 'standard' 5 string is BEADG,he's actually tuning the low B string up a semitone,the high G up a tone,and the rest up a minor third. So, going from there,I'd be more inclined to get slightly lighter strings than heavier ones.

I started a thread in off topic earlier in the week. It's Manchester and Brixton Academy.

If you want an upright sound,then really you need an upright. The Kala is cool and everything,but it's no substitute for a proper. I'd also recommend a proper upright over an electric one. Alot of Electric Uprights don't have the feel or response of an Upright,and those that do are pretty expensive.

[quote name='Hobbayne' post='1126063' date='Feb 13 2011, 04:03 PM']Maybe you,ve discovered a new technique [/quote] Nope-see my earlier post.

[quote name='Faithless' post='1125886' date='Feb 13 2011, 12:51 PM']There's a quote from Janek that interview with Hadrien Feraud will be coming out soon. I think, Marcus Miller is also on the list.[/quote] Reggie Hamilton is next apparently. That's cool if he's doing one with Marcus. Interesting fact-Janek sold his Wal to Marcus.

When you've written a melody or a progression,put the instrument down and just listen. Try to sing an idea for a bassline,before you pick up the bass. This will stop you from falling into your stock patterns,and make for a more interesting line.

Chuck Rainey has used that technique for years,where one finger plays up and down strokes. Bryan Beller uses a similar technique when he's playing with Dethklok,only he uses both fingers in unison. There's a really good video on YouTube of him demonstrating it.

If it's proper acoustic,then it has to be the upright,because an acoustic bass guitar just isn't loud enough. How ever if it's 'acoustic',which a lot of bands seem to think is the same as normal but slightly quieter with an acoustic guitar,then you may as well use an electric,as you're going to be plugging in anyway.

[quote name='hillbilly deluxe' post='1124947' date='Feb 12 2011, 01:45 PM']1,an amp/speakers make just as much,if not more difference to the sound than a bass does. 2,technique plays a much bigger role in shaping the sound. 3,the cost of equipment does not always justify the end result. 4,If you are looking to replicate someone elses sound,pay more attention to their technique than their gear.[/quote] I just want to put my two penneth in on these points.... 1.Having heard Janek Gwizdala play through my Roland Cube a couple of times,I will safely say that he sounds exactly the same as when playing through his TC rig. It's the same when I've heard him use other amps(including Trace,EBS and Mark Bass). Which takes me to........ 2.It's all about the technique,like you say. The specific player and their technique is the biggest factor when it comes to tone. Sure,a Jazz and a Precision have certain idiosyncrasies,but a good player will sound pretty much the same on either.Like I've said before,there is a track on the SMV album where Marcus and Stanley swap basses and they still sound like themselves. 3.You spend a fortune on a top of the range rig? Great. It means you spent a lot of money.That's it. A good player will sound great on a Squier,while a poor player will suck on a Fodera. Spending money on gear won't make you sound good. 4.You can try to replicate your heroes by buying all the same gear and copying their technique and licks,but you won't sound the same as them,because you aren't them.However,while copying these guys you may be lucky enough to find your own sound.

[quote name='thumperbob 2002' post='1125437' date='Feb 12 2011, 08:52 PM']Try playing in a soul band where loads of tunes are in Eb without a low b. Even jamerson used a fiver sometimes. The argument is drop tuning where you could go downnhalf a step but still a bit inconvenient. Love my 5s[/quote] Yeah,but Jamerson had an old Fender Bass V which had a high C and something like 15 frets

[quote name='Sibob' post='1125332' date='Feb 12 2011, 07:31 PM']Are these vids anywhere else?, they don't seem to be playing on my mac!? Cheers Si[/quote] They are free to download on iTunes along with the rest of Janeks podcasts,both video and audio.

The August 2010 issue of Bass Player had a full transcription and analysis of 'Everybody Dance'

Ignoring the whole positional playing argument (which makes no difference to me) and speaking purely about the extra notes,then yes I do need a five string for certain situations.

But while musicians are looking for 'their sound',many singers are happy to sing out of their natural range and try and copy others,while never finding 'their voice'. This is particularly evident among the myriad of Whiney/Christina clones who add unnecessary vocal gymnastics on every phrase while singing well beyond their range,and amongst the pop-punk scene where they all put on a faux California accent-even if they are from the depths of Surrey.

[quote name='owen_87' post='1123930' date='Feb 11 2011, 03:22 PM']Yeah meant to say with a pick. I've never really thought about it until he brought it up but it makes sense to me to play the low note up and the high note down because your hand is in the middle, if that makes sense. That said, the low note is normally on the beat so it would probably be better to play down on the beat. Or maybe I am over complicating a simple issue [/quote] I think that's over complicating it a little The only reason I play the lower note with a downstroke,is so that I can keep a pretty consistent down/up motion. Although there are times when I may change or use all upstrokes or all downstrokes,if I'm playing at speed,I always alternate like I said. I should add that I only use a pick occasionally.

Part to of the interview is up now.

I don't like to see that phrase,to be honest. Just state the price and leave it at that. How much you paid for it is totally irrelevant. If it's a good price and someone want's it,it'll sell. If I see some one saying 'I paid £XX,and want to get back what I paid',my first reaction is 'no-I want it for less',but if just the price is stated I might be happier to pay it.