Doddy

[quote name='nottswarwick' post='1074883' date='Jan 1 2011, 11:33 PM']Nice One Doddy - So much for reasoned debate. I'm sure you are right and I shall retract my foolish opinions.[/quote] I given my argument why I don't think he's any good. I could name a ton of players who,I honestly believe, will blow him away in every conceivable way,be it technically or 'playing for the song'.

[quote name='nottswarwick' post='1074872' date='Jan 1 2011, 11:16 PM']Sorry doddy. I know we can differ that is fine. But you can't say he is sh*te as that is so obviously not true.[/quote] I have done though

[quote name='pantherairsoft' post='1074850' date='Jan 1 2011, 10:49 PM']Difference is that you are a drummer! In fact I still think of you as a drummer rather than a bassist that's how we met a mere 11 years ago. Guess bassists that don't play drums look for something slighty different. Unfortunately my opinion is with the masses here [/quote] Well,I play a bit of drums and my Dads been a pro drummer forever,so I'm very big on drummers and drumming,so I'm not looking at it from a bass player point of view.

[quote name='nottswarwick' post='1074792' date='Jan 1 2011, 09:46 PM']And as for Gilson, IMHO he is one of the finest. Taste, versatility and technique. To say he's a weak link is so wrong, sorry whoever said that but come on, that is so wrong.[/quote] I think it's spot on- I think he's sh*te. No balls,technique or swing. I regularly play with drummers who blow him in every single way.

It's interesting( although not too surprising) to see that virtually everyone is learning songs over things like scales,arpeggios,reading,playing over changes,harmony,rhythm and stuff like that.

[quote name='skej21' post='1073784' date='Dec 31 2010, 03:56 PM']IMO, It's like old soul, but with one additional good bit... Pino Palladino.[/quote] Which then works as an argument against the music being 'African-American'. What with Pino being White and Welsh.

[quote name='captain black' post='1074118' date='Jan 1 2011, 02:06 AM']Gilson Lavis, How good is he? God, Wish I played alongside that Bu++ger! That is some rhythm section tough. Absolutely first class.[/quote] I really don't rate him in the slightest. I've played opposite Jools' band a few times,and I think that Gilson has no balls or drive in him. He doesn't swing that much either.

Wow....You learn something new everyday don't you?

About a week ago,my middle finger swelled up for some reason and is painful to pluck,so I've been using a Pick for the last week of the Panto. I've been using Dunlop 1.14 and 1.5mm and Ibanez Steve Vai models. I've got a couple of Stubbys too,but I've not used them for ages. I really don't like picks that flex, I like them to be nice and solid.

I got some great advise from my Dad when I first said I wanted to play. He told me that if I was going to play,I should do it properly-take lessons,get my technique together,learn to read...all that kind of stuff.

CUrraNT? They're still great instruments-you can't knock them. I love Tobias Basses

If it is a Toby model,it can't be a pre Gibson. The previous owner may think it is because Mike Tobias still worked for them up until the end of '92. However,the Toby series were a Korean made line under Gibson ownership. For it to be Pre Gibson it needs to be US made with a serial number up to 1094. US Serial numbers up to 2044,were still made by Mike Tobias but under Gibson ownership.

I'm working through the book 'Chord Studies for Electric Bass'.

[quote name='StevieD_FenderP2009' post='1071286' date='Dec 28 2010, 09:29 PM']Cheers for the help guys Btw, mythe ste, my Tobias is a Pre Gibson 1992 Toby Pro 4, not one of the newer Tobias' so I don't know if the new ones have the same electronics as the older ones. Especially as mine only has 4 knobs and the newer ones have 5[/quote] Sorry to be a dick,but Gibson bought Tobias in 1990,so it's not Pre Gibson.

[quote name='Lysdexia' post='1070660' date='Dec 27 2010, 11:56 PM']Had that and sold it - next to useless. I love his playing, but that DVD was a snoozefest jamw***. Anyone know if the Wimbish one is any good?[/quote] That Flea DVD is all kinds of wrong. Just awful. The Doug Wimbish one is alright in places and a bit sh*t in others,but mostly it's average. If you like the Stu Hamm DVD,why don't you check out his follow up 'Deeper Inside the Bass'? He's also done one recently,but I've forgotten what it's called. It depends what you're after-Wooten's 'Groove Workshop' is good, Nathan East's 'The Business of Bass' is very good,Alexis Sklarevski 'Slap Bass Programme' is cool,as is Rocco's 'Fingerstyle Funk'. I think that the thing to remember about instructional videos is to take them as entertainment and not as a lesson substitute. Sure,you may get the odd lick or idea,but the majority won't really help you in any significant way. I've got loads of them,and they are more about watching someone play than actually learning anything.

I put a set on my Fender Jazz 5 about two weeks ago.The coating started to peel after a couple of days-especially over the back pickup,where I pluck. They've also tarnished quite a bit in the same place-more than I've ever noticed on other strings. I must say,I'm dissapointed with them.

[quote name='jezzaboy' post='1069237' date='Dec 25 2010, 01:28 PM']This is a great topic and this question has had me thinking for a while. Let`s see if I have got it right. I drop the bottom string to E flat but still play the A in the 5th fret position as normal and it sounds a semi tone lower? And this makes it easier for the singer? And is this called concert pitch? Answers on a post card please..... Jez[/quote] Answers on a digital postcard...... If you are tuned a semitone flat, the 5th fret will be an A flat instead of an A. It may make it easier for some singers,depending in their range. I'm sure there are people who are refering to 'concert pitch' as EADG tuning,but the way I see it,is that even when you are detuned you are still in concert pitch.... C will always be a C-it's just now on a different fret.

[quote name='Moonstomper' post='1068092' date='Dec 23 2010, 06:52 PM']My tutor told me "You're a competant bassist now" but i do see some guys out there and think "WOW" I try to make a point of chatting to bands and esp the bassist (obviously). If they've done a good little run or pulled a good groove i'll ask 'em if they mind me trying it. If they come over all "attitude" I'll smile at 'em and walk off.[/quote] To be fair though,I know that if someone came upto me and said "That was cool,can I have a go?",I'd probably say no. It's not about copping an attitude,but right after I've finished playing,I don't feel like teaching or letting someone I don't know play my bass.

.......and that's why it's always a good idea to carry a DI box.

[quote name='J3ster' post='1068215' date='Dec 23 2010, 08:30 PM']There may be some confusion here - If you and the guitarist ALL tune half a step down (which is probably for the singers range) but they are playing say a G 'look to see where they are barring the chord, I bet it is at the 3rd fret. as normal Most bands when they de-tune do not change the chord position, so for you every note will still be played at the original position (eg; 3rd fret E string is G - 5th fret A string D so on) to be honest you should have heard if its wrong compared to what the guitarist is playing as half a step difference sounds horrible especially if for the whole song :-) but I would bet they are keeping the same positions in this case.[/quote] This annoys me a lot. If you are detuned,it is not difficult to understand that the notes have moved. I did a couple of gigs where I dropped everything a semitone,and then my whole frame of reference is shifted. I see and hear the notes in their new,'correct' positions-like G being on the forth fret,not the third-so if the guitarist says 'This one's in A',I automatically go to the actual note,not where it would be if I was in standard tuning. You never get this with keys or horn players.

[quote name='Mog' post='1065999' date='Dec 21 2010, 06:31 PM']3 The last I heard not one top orchestra, productions company etc is going to even look at someone who turns up without 3rd level training. Those days are long gone.[/quote] Just out of interest,I've never known anyone get a non teaching gig because of qualifications. You get the gigs if you can nail the job and have a good attitude. No one cares if you studied at uni or whatever.

I've got 20 odd basses and no matter which one I play,there is a certain 'core tone' that is a constant. Sure,the Bass with EMG's is more aggressive than the ones with Bartolinis,but the basic tone is there. I believe that a player actually carries 'their sound' with them, in the way that they play the instrument. You can fiddle about as much as you want with gear and EQ or whatever,but there are always going to be certain characteristics to the tone that you produce on an instrument. Listen to Les Claypool play a Rickenbacker-he sounds just like Les Claypool. Listen to Marcus Miller's bass sound before he had the Bartolini preamp fitted in his Fender. His sound wasn't quite as refined as it later became,but his core tone was there and is recognisable as being Marcus.

Can I just make a little comment? In 3 posts,there is reference to being 'grade whatever standard'. I'm sorry,but no. If you have the grade then great-otherwise,you're not. Now to the OP..... It's great that you are doing stuff at school and that people are saying how good you are. Now,you need to put your name about and get your ass kicked-don't worry,it happens to everyone. Go out and introduce yourself to other musicians,be it in music shops or at jams or gigs or whatever.Some may call you,and then you have to nail the job....which won't always happen. It's very easy to get comfortable and cocky when you are playing with mates,but if you are as serious as you say,you need to play with experienced players who won't always go easy on you because you are young. It happened to me,and it made me a better player. I know,I'm sounding a bit harsh,but you come across as having typical teenage brashness,which although it has it's place right now,it will come as a huge culture shock if you get out into the music world beyond your school.

I have no problems switching between 4,5 and 6 strings-although my 6'ers haven't been out much lately. I've been using a five string for pretty much everything lately,but I always have my good old Fender Jazz sitting nearby. I prefer to thump on a four string,as I don't particularly like the sound of it on the low B,but it's no big deal. I could probably do most of my work on a four string,but you never know when you'll be given a part with those lower notes written-which seems to be happening more often these days,now that arrangers and MDs are getting hip to the five strings range.

I've never noticed any discernible tuning problems on the remaining strings. The only thing that is common is that when you flip back to E it often floats a little bit sharp,nothing major though.