Doddy

[quote name='silddx' post='1080332' date='Jan 6 2011, 07:50 PM']Love the White and gold Cora, but the Princess Isabella guitar is a winner for me, absolutely gorgeous![/quote] Agreed. I prefer the white Cora over the more fancy Roya models. It has an understated elegance about it.

[quote name='Platypus' post='1080201' date='Jan 6 2011, 05:54 PM']Lettuce?[/quote] Yes!!!! I just got a copy of 'Rage!' and am playing it to death. Great band. On a kind of similar vibe check out Galactic.

[quote name='JimD' post='1080069' date='Jan 6 2011, 04:30 PM']Note that in parallel you can use either the bridge or neck pickup, or both. In series, you can only use both, as the output of one is connected into the input of the other. You only get the "series" sound with them both on. So if, like me, you own a bass with "jazz" type pickups, but only play through the front one, it won't make any difference at all [/quote] Yeah,in series both pickups do work together,but it doesn't sound like just the front pickup soloed. It has a higher output and,as I said earlier,is Precision like but with more power and clarity. It makes a versatile bass even more versatile.

I've just picked up my main Fender Jazz today after having a set of Dimarzio Ultra Jazz pickups and a series/parallel push/pull knob fitted. It sounds great. In parallel it's just like a Jazz Bass,whereas in series it seems to give it more balls. It increases the output slightly and gives a real fat tone that is almost Precision like but with more power and clarity (I think). Here's a wiring diagram for adding a push/pull knob. [url="http://www.seymourduncan.com/support/wiring-diagrams/schematics.php?schematic=jass_bass_sp"]http://www.seymourduncan.com/support/wirin...ic=jass_bass_sp[/url]

[quote name='EBS_freak' post='1078523' date='Jan 5 2011, 01:19 PM']On the bright side, we don't have to deal with the whitterings of Jon Herrera at BP mag now (at least his reviews are generally sound though)[/quote] I don't know,I quite like Jon Herreras articles.

[quote name='zero9' post='1078489' date='Jan 5 2011, 12:54 PM']Stanley Clarke rests his (picking hand) thumb on the edge of the neck when playing.[/quote] Although for the most part he rests on the neck pickup.

[quote name='Fat Rich' post='1078352' date='Jan 5 2011, 10:54 AM']Sounds daft but I'd say learn the names of the notes on the neck if you haven't already! And I mean really learn them so you don't have to think about any of them or have to count frets and work up or down from familiar notes. If you haven't got this down then everything else becomes a struggle and you'll be wasting precious time.[/quote] It doesn't sound daft at all. There are so many players who can't name the notes on the 'board,even those who have been playing for quite a while. To me this is a very basic part of learning the instrument.

[quote name='Tandro' post='1078151' date='Jan 5 2011, 01:26 AM']Just wondering what my 'achievable goals and set time frames' should be? Should I aim for learning an arpegio all over the neck at 100bpm in 4 weeks, or something like transcribe one song every fortnight?[/quote] I wouldn't worry too much about this because everyone learns at a different rate. Someone may be able to nail arpeggios at 100bpm in 10 minutes,while another may take 10 weeks,but they both get there in the end.The important thing is that you ultimately can play it and (importantly)understand it-the time period is less important when you are in the practice room. It's the same with transcribing-initially it may take you a while to write out a simple line,but with practice you'll progress on to more challenging pieces and you'll be able to write those simple lines relatively quickly.

[quote name='Mlucas' post='1077691' date='Jan 4 2011, 07:08 PM']Here's one for the rookies and self-taught chaps, Simply take half an hour or an hour just getting to know your bass lines and fills, for example, take the root note of a song, then simply play a bar of that note, then improvise a fill, just add notes depending on feel and relevance to root note, if it sounds right great! If not then remove it and try another! Use this method until you are comfortable with a variety of fills and breaks. This worked great for me, since i'm self taught (with a few dvds on the side). It's all about sitting down and taking it slowly with your bass [/quote] Alternatively,learn some theory(even to a basic level) and eliminate a lot of the guess work. It makes life so much easier if you can play what you hear in your head without going over it time and time again.

I've just had a quick listen to the track and it sounds to me like the 'irrate bee noise just after the solo' is really just playing quavers with distortion. If you prefer to play fingerstyle,the only reason I can see to not use your fingers for it would be for the tone. If the tempo is the problem you just need to slowly work your fingers up to speed. If you insist on using a pick,I always recommend something pretty heavy. I usually go for Dunlop 1.14mm or 1.5mm or Ibanez Steve Vai model.

[quote name='WillEdwards' post='1078078' date='Jan 4 2011, 11:09 PM']I tried the Akai Headrush with Hazarai and although the delay was really good I thought that the loop function was poor because each of the loops had to be the same length.[/quote] You'll find this to be the case with most of the pedal loopers. If you initially put down a 4 bar loop,everything you layer over the top will be over those 4 bars.

[quote name='Chris2112' post='1077821' date='Jan 4 2011, 08:27 PM']And here is a particularly bad bass solo. I know he had massive shoes to to fill after Jaco but this really is some awful, sloppy and aimless soloing. I'd like to say the start is a particular low point but there are howlers everywhere. I sometimes wonder why Joe Zawinul picked him to replace Jaco. He started off as a bad Jaco clone (in a way) and there were so many fantastic players around at the time. Maybe Joe didn't want to have to share the stage with another "big" bassist (his clashes of ego with Jaco are well documented), especially since Wayne Shorter seemed to have disappeared from Weather Report in the 80's! [/quote] Victor Bailey Shreds!! I've always quite liked his playing,particularly on the album 'Domino Theory' and especially the track 'D Flat Waltz',but that solo was nasty. 'Do You Know Who?' is the track on 'Low Blow' that I always skip over.

[quote name='daz' post='1077508' date='Jan 4 2011, 04:53 PM']ps: re: Jeff Berlin. Actually I couldnt tell if Victor Bailey was doing a subltle pisstake of jeff berlin on stage at the last bass day. When he talked about guys who were wizzards on the bass as far as technique were concerned but had 'no groove' whatsoever![/quote] That could be a reference to an number of players.I'd doubt that it was a jibe at Jeff Berlin. [quote name='ezbass' post='1077518' date='Jan 4 2011, 04:59 PM']Yeah I didn't really know of Scott Thunes except as a name (I'm not a Zappa fan) but he makes really good reading. Check out his website, the blog is really hysterical, he writes like he speaks. Can't remember if it was the blog or the interview, but he paints "the drummer" in a bad light, made worse by not actually naming him, class! I believe it was Chad Wackerman.[/quote] Apparently though(I seem to remember),Chad Wackerman was one of only two members of the '88 band who got on with Thunes-despite Thunes making him cry once. The other was Mike Keneally.

[quote name='Wil' post='1075754' date='Jan 2 2011, 09:22 PM']But fair. Blimey, I forgot about Primus! [/quote] Great track.....But that's not a fretless

If you have an hour a day,then use one of those days for lessons. Believe me,it'll make a world of difference to your playing-I still take lessons when I can. I've never been one to structure my practice,ever.I'm the kind who can sit down with a book or an idea and work on it for hours.I'm not big on the timer idea-If you are really getting into a certain aspect,you don't want to cut it short just because you think you should move on to something else. If you check out a book like 'Chord Studies for Electric Bass' you'll learn how to read (you'd have to) and get a solid knowledge of arpeggios at the same time. Great! Don't try to force things to improve. It may take you a few hours,days or months to understand some things and to see an improvement,but don't worry about it-It'll come. Don't try to play everything fast either-concentrate on playing or reading things correctly first.Speed will come naturally over time. I will advise you to get your reading together.Even if you never use it on a gig,it will open up a whole world of information for you to study. It was mentioned earlier about not noodling. I tell my students that if they are getting frustrated with an exercise or concept, to take a few minutes to play a song or to just play and have fun,before returning to the exercise later.You don't want to get so annoyed with something that it puts you off playing the instrument.

If you go down the in-ear route,there is no need to use much volume at all on stage. One band I work with doesn't even use amps.The only sound on stage is from the drums,the rest of us use Line 6 Pods. It sounds just as good out front through the PA and we all get a good sound through the in-ears,which don't have to be loud. Edit...In fact,in the last 2 or 3 months I've only used an amp twice.

Just 5? Right then.....in no particular order,and at this particular moment. Marcus Miller-Saw him in concert not long after I started playing at it blew my mind. Janek Gwizdala-I've learned a lot from him over the last couple of years. Now it gets difficult......To name 3 more would mean missing out loads of players-so I'll have to mention- Will Lee,Jaco,Bryan Beller,Tom Kennedy,Jeff Berlin,Victor Wooten,John Patitucci,Christian McBride,Paul Chambers, Ray Brown,Ron Carter,Nathan East,Glenn Worf, Scott Thunes,Jimmy Haslip,Les Claypool,Stanley Clarke,Billy Sheehan,Gary Willis, Jimmy Haslip,Mike Gordon,Larry Graham,Rufus Reid,Anthony Jackson,James Jamerson..............The list goes on.

I carry my Bergantino 4x10,Genz Benz Neo Pak,Bass in gigbag,2 aluminium cases,Gramma Pad,guitar stand,music stand,suitbag and fan in my Citroen Berlingo. There's tons of room in it-plenty to add my Upright or a PA or a drumkit.

As much as I love Marcus' tone,I'd have to go with Will Lee's.

I've had people tell me that that don't like how I play,and that they don't like what I do for this reason or that. It happens with everyone-some people may think you're great,others may think you're sh*te. Everyone has opinions on players,either good or bad-I just voiced mine harshly.

[quote name='boostybaboon' post='1075181' date='Jan 2 2011, 12:16 PM']Playing the electric upright I'd be able to play with a local ensemble who need upright players, which will improve my playing from score. If that works out it would open up other doors due to the contacts in that group, generally broaden my playing opportunities where I wasn't expected to stand on top of my amp turned up to 11 next to a drummer going mental. Would be nice to occasionally be able to hear the notes I and everyone else was playing.[/quote] It's worth keeping in mind that people are more likely to hire a 'proper' upright player than an electric upright player. If that's your aim,I really think you'd be better off renting or buying a real upright first.

I think I've worded my first post badly by being tired when posting. What I'm meaning is when it comes down to the music it doesn't matter what race the artist is. The OP asked if you had to be 'african-american' to be accepted as an authentic neo soul artist,and the answer is obviously no.

[quote name='skej21' post='1074258' date='Jan 1 2011, 11:30 AM']I can't see how. How does the nationality of a single instrumentalist change the entire tradition and history of an entire genre of music? Neo Soul is a genre born out african-american music traditions, and just because one bass player who isn't african-american happens to do the job and groove (in keeping with the traditions of the genre) that doesn't mean that it makes [u][b]all[/b][/u] neo soul music any less "african-american"... Let us not forget that Pino was playing behind an african-american (D'Angelo) who very much pays musical homage (respectfully) to the soul music that he is influenced by.[/quote] No,it doesn't make it any less 'african -american',but it does help with the argument that it makes no difference what race you are when it comes down to the music. If you have a feel for the music,that is really all that matters.

[quote name='nottswarwick' post='1074900' date='Jan 1 2011, 11:55 PM']It's just that to label him as "sh*te" does a great pro a dis-service, that's all that got me. Just my 2p.[/quote] I'm sorry if it was the word 'sh*te' that caused the problem. But,I will honestly say that he is one of the weakest 'known' players that I've ever seen live (all 3 or 4 times).

I think that if you are after something with light strings and easy action,you may as well just buy a fretless bass guitar. Otherwise,you'd be better off with something that feels more like a proper upright-unfortunately these often cost a fair bit. It's worth noting that playing Something like the NS Bass Cello or Dean Pace won't make you an upright player,as the jump from one of those to an actual double bass is huge. To me,those kind of basses are really just vertical fretlesses. If you want to use it as a step towards playong double bass you'd probably be better off with something like the Stagg or Palatino bass. An inexpensive double bass would be even better.