Doddy

[quote name='TomKent' post='1095573' date='Jan 19 2011, 08:05 PM']Respect to him for putting himself out there and making an album, putting videos on YouTube etc etc. Okay, he's not the best, but at least he's trying? [/quote] I don't agree with that. There are a lot of poor players who are putting videos of themselves on Youtube and making CDs but it doesn't automatically give them respect. It means they've bought a camera and Logic-anyone can do it if they have the money. The difference with this guy is that he seems to think that he's the shizzle,which he clearly isn't. It's all about the attitude and it's not supported in his playing,which is fairly basic harmonically and slightly messy rhythmically. Jaco used to say "It ain't bragging if you can back it up". Unfortunately,Jaxsn can't back it up.

[quote name='flyfisher' post='1095734' date='Jan 19 2011, 10:13 PM']Do you find the Polytune easy to read on the floor? It's difficult to tell from the brochure but it looks a bit small to me for all the info it has to display. I like the idea though.[/quote] I've had no problems reading it,it has a really clear display.

[quote name='henry norton' post='1095555' date='Jan 19 2011, 07:55 PM']Because having the pickups wired in series is basically running the output of one pickup through the other one, whereas parallel runs them both individually. If you turn down one pickup in paralell you're still listening to the other one but if you turn down one of the pickups in series - you can end up with no sound at all![/quote] On my Jazz I've got a series/parallel push/pull switch wired into the neck volume control,and when in series it becomes the only volume control-the bridge pickup has no effect at all,so you don't need to run both volume controls wide open.

I always use the Ultimate stands-both the GS-100 and 200. I don't particularly like the Hercules stands.On mine,the gripping mechanism broke after a couple of months,and I found it to be quite easily knock-over-able. A guitarist I work with had the twin stand version and that was also pretty unstable...he now uses the Ultimates aswell.

I'd recommend the TC Polytune. I used a Korg DT-10 for ages,but replaced it with the Polytune,which I think is a better tuner. I prefer both of them to the Boss though.

We all know what I'm going to say....... Spectraflex.

I was told 'if you're going to learn,do it properly'. Take lessons,get good technique,learn to read,all that kind of stuff-hence the constant learning. Later on it was stuff like,get to the gig early,dress right,don't be a dick etc.

Learn to play Rhythm changes. These are the chord changes based on the song 'I Got Rhythm' and are used for a ton of different tunes. Jazz blues changes are important to learn as well. Bilbo's list is good-I'd add 'Allof Me','Autumn Leaves','Night and Day','All Blues','Satin Doll','Take the A Train'......there are a lot of tunes that regularly crop up on Jazz gigs. You probably won't need to read notes on a jazz gig (and you will never see tab on any gig,ever),but you often have to play from a lead sheet,which has the melody and chords written,and be able to construct a walking line over the changes.

[quote name='chris_b' post='1093970' date='Jan 18 2011, 03:43 PM']As far as I know tab doesn't feature in any exams so I would just stick to the dots. Hints on sight reading? Just keep at it.[/quote] Unfortunately the Rockschool exams do feature Tab,which to me,kind of defeats the object. Tips on reading..... Just do it. It's just a case ofthe more you read,the better you get-there are no shortcuts.Find new material all the time(without Tab) and try to read through it,without memorising it,that way you will be reading each time. Start off with simple lines and gradually get more difficult. Walking basslines are great for note practice because rhythmically they are mostly crotchets.

That particular note is actually an artificial harmonic,so you can't play D# on the string above (which would result in playing a 3rd over the . It's not actually a tapped note. The other way to play it is to fret the B as usual and then play the artificial harmonic an octave higher on the 16th fret(you could also take it an 8va higher if you wanted).Place your right hand finger or thumb lightly over the fret and then pick behind it. That's how Wooten plays it,and it's the same kind if technique that Jaco uses to play the melody to 'Birdland'.

As long as they get there in time for the dress rehearsal it'll be fine

As Bilbo said,it's all about putting in the practise. If you want to go to a teacher,it doesn't have to be a bass player,any reading player will do-obviously a bass teacher can relate to the fretboard,but a good piano player will be just as good,and easier to find. The advantage of a teacher,maybe later on,is that they will tell you if you play something wrong,especially rhythmically,which you may let slip on your own. There are a ton if books available,but 'simplified sight reading for bass' has been recommended in a few threads recently as being very good.

I use both an EBS Octabass and a Boss OC2. I use the EBS for a cleaner effect and the OC2 for a dirty synth-like sound. They are both great,but I've been using the OC2 a lot more lately-it's got a great 'character' to it.

Wish I'd have known-I live in Leek. I'd have popped over.

[quote name='Gust0o' post='1089110' date='Jan 14 2011, 11:22 AM']£760 versus £360? That £400, or so, settles the argument for me. It looks great, I'm just not sure where the additional £400 of value in the instrument is.[/quote] The £400 difference? The pick up is reversed,so that Blink fanboys will spend money and convince themselves that it sounds totally different from the old model. I'm not convinced that a reverse P pickup makes that much (if any) difference. If there is a small difference,it will be unnoticeable in 99% of situations.

Looks like I'll have to buy another copy.

From just listening to it (I've never learned it before),it's just a big Eb minor pentatonic line(Eb,Gb,Ab,Bb,Db),so unless you are drop tuned you have to play it in a closed position with no open strings.

[quote name='lowdown' post='1088038' date='Jan 13 2011, 02:17 PM']I would have thought Tartan trousers and a team of session players would have been the requirement. Garry[/quote] But then you are apparently discriminating against those who don't wear Tartan trousers or play sessions.

[quote name='coasterbass' post='1087632' date='Jan 13 2011, 09:47 AM']No one interested?? Thought there would be loads of interest in this. [/quote] I think the 'must be able to shift at least 200-300 tickets without struggling' far out ways the 'being able to say that your next/last gig is was at the Shepherds Bush Empire'. To be honest,to me it sounds like more of a hassle than a 'great opportunity',as it sounds like a typical pay-to-play scenario.

The thing to remember is that the third is the defining note as to whether the chord is major or minor,so in a simple walking line like that it is essential to outline the changes-especially if their is no other chordal instrument playing,such as under a solo. This is where understanding arpeggios and chord tones is important rather than learning a pattern that may work over a bunch of different changes.

[quote name='TimR' post='1086779' date='Jan 12 2011, 03:08 PM']This is the best point yet and goes back to my point about understanding WHY the bass line is like it is. Is it because the bassplayer couldn't play anything else. Is it because they dragged the bassplayer out of bed with a massive hangover and it was all he could manage to play? Is it becase it was arranged by a pro arranger. Is it because they got a session musician who played something off the top of his head first time and they liked it. Said session player then listens to it later and thinks it's OK but given a bit longer could have come up with something better. Did the band all sit down and work out all the parts as a collaborative effort and its part of 'their sound' Is it the signature part of the song/melody.[/quote] Some good points there. The only other one I'd add is that the bass player(band member or session player) played what was right for the track. Just going off those points,I've always said that there is a big difference between someone playing a certain(usually simple) line because it is the [i]right[/i](best?) thing to play and someone playing it because it's all that they [i]can[/i] play.

[quote name='lettsguitars' post='1086209' date='Jan 11 2011, 10:54 PM']bejesus. primus were great at the time. but that was then. hurts my head a bit now, and les' too no doubt. he moved on from primus long ago and has more than earned the right to do exactly what he feels like at the time. i don't think les would appreciate being compared to primus quite honestly, although they do still reform regularly (no doubt for a little extra pocket money).[/quote] Well,I wouldn't say that he'd moved on from Primus-what with them touring right now and with a new album currently being recorded. I really like his solo stuff though.I've got a soft spot for the 'Holy Mackerel' album especially. And his London gig last year was killer.

[quote name='spinynorman' post='1086111' date='Jan 11 2011, 09:29 PM']With all these references to Cream and Clapton, I now have this vision of Nathan East slaving over the tabs for White Room till he got the Jack Bruce part right.[/quote] With the big exception that I guess Nathan wouldn't use tab. But,he probably spent quite a while in front of the record player when he first got the Clapton gig.

There's a good enough reason to be able to have a working technique with both both your fingers and a pick. If you are uncomfortable playing with a pick you would probably be better off playing with your fingers,but at the same time start practising at home to get your pick chops together. I'm not a pick player,but during my panto run I had some problems with my middle finger of my plucking hand (longish story), and decided it would be easier to use pick for a bit. It was a good job that I'd got some pick chops otherwise I'd have struggled more than was necessary.

For me it goes both ways.There are some songs I play regularly that I still enjoy listening too,and others that I don't. The same way that there are songs that I never liked but after playing them for a bit I get into them.