Doddy

Another waste of time and bandwidth provided by Music Radar.

Rather than trying to reverse your picking hand to coordinate with your fretting hand,just slow down and be methodical about playing ascending patterns. If you are coordinating 3 fingers on each hand you'll hut problems when you gave to play 2 or 4 note patterns. Also,when descending a lot of people use raking which allows you to play quicker.You can't do that when you are playing ascending scales. As far as pulling faces goes,as long as the wind doesn't change,it won't stick and you'll be fine.

I prefer to be called a musician first. If I have to specify,I refer to myself as a bass player. I'd never say 'bass guitarist' as that is only part of what I do as a bass player.

[quote name='endorka' post='1064234' date='Dec 20 2010, 02:08 AM']So, if you are playing only with a guitarist in standard tuning, you should never play anything below your E string, as it will definitely be more than an octave away from what the guitarist is playing. If there is a keyboard player then it may be possible - check the lowest note they are playing at that point and see.[/quote] I partly agree with this. I've seen a load of bands where the bass player has camped out on the low B,and when the guitarist is soloing there is a sonic space of two or three octaves and the whole thing sounds really empty. I think the problem is that a lot of players don't really know how to use the added range. They play low all the time,thinking that it adds weight or makes it heavy,and many times it has the opposite effect

Depends on the gig. For some gigs I'll use nothing at all,for some I'm specifically asked for certain sounds,and other times I'll take my full board. For me,it's all about having options.

Awwwwwwwww

I've had a Protection Racket gigbag for years and it's really good. However,it isn't a patch on my iGig which is the best case I've used by a long way.

They're a good bass. Look around the second hand market though. I picked up my Fender Jazz Deluxe 5 for only £50 more than your budget.

For a Jaco style tone you want a Jazz Bass with Roundwounds.

I love my old EBS for good a clean effect,and my older OC-2 for more 'synth-y' sounds. I love them both. I tried the MXR and thought it was good,but I didn't like it as much as either the EBS or the OC-2. The OC-3 is decent,but I prefer analogue octavers over digital ones.

The live version of 'Panther' on 'The Ozell Tapes' has a bunch of effects on it. 'Come Together' from 'Tales' has some envelope filter on it on some sections. There us a bit of fuzz on 'Frankenstein' on 'Silver Rain'.They're the first ones that come to mind. He also uses compression on pretty much everything-usually an Imperical Labs Distressor,rather than an EBS.

I don't know the song or the band. Have you got a link to it?

I'd not seen that site before. That's really cool.

[quote name='EBS_freak' post='1059867' date='Dec 15 2010, 06:50 PM']Garrick action. Afterall this time in Lichfiled, you know, I've never been to a panto at the Garrick...![/quote] Drop by and say hi.

Buy a copy of 'Modern Reading Text I'm 4/4' by Louis Bellson. It's the best book for studying rhythms.

I remember that Jonathan Maron was mentioned pretty frequently in Bass Player mag a few years ago. Not so much lately,though

Nice one guys-I'm glad this thread keeps popping up. Silddx-Sounds like you're doing great. If your pretty comfortable in C,crack on to G,so you're only dealing with one sharpened note. Pete-I'm doing the panto in Lichfield until January 9th,so if you ever want to pop over and ask questions,give me a shout.

[quote name='tauzero' post='1057959' date='Dec 13 2010, 10:30 PM']The biggest weakness of tab is the poor facility to express rhythmic content and a book on chord tones is presumably going to have little rhythmic content, the significant part is the structure of the chords.[/quote] True-but in a book on chord tones,Tab fails to convey the difference between intervals.By just showing a fret number,it is not possible to convey the difference between say,a #4 and a b5. It will show you a fret to play,but it doesn't show it's context.

[quote name='BigRedX' post='1057838' date='Dec 13 2010, 09:09 PM']According the Reverend enthusiasts on TB there's less than 1000 Rumblefish basses in total (that's including all the different 4 and 5 string versions). I have a nice 5-string JJ model (5XL I think it's called), but on the whole I prefer the sound of humbuckers which is why I'm after the BH model. I keep trying to buy one when they occasionally turn up for sale on TB, but no one ever seems to want to ship one out of the US :-([/quote] These are the quantities quoted on the Reverend website.... Brad Houser 5 - 79 Rumblefish 5L - 289 Rumblefish PJ - 106 Rumblefish - 418 Rumblefish XL - 141

I don't like getting rid of gear- I tend to just add to the collection.

[quote name='BigRedX' post='1057792' date='Dec 13 2010, 08:43 PM']2. Reverend Rumblefish Brad Houser sig. I had to look up Brad Houser on Wikipedia to find out who he was an d what bands he's been in. I don't like any of the one's I'd heard of (New Bohemians) but his signature version of the Reverend Rumblefish bass is a truly marvellous thing.[/quote] That's a really nice bass. I also dig Brad Houser's playing,especially with Critters Buggin. It's a shame that Reverend discontinued them-apparently they only made 79. I've got 3 signature basses- a Fender Marcus Miller,a Yamaha Attitude,and an Ibanez Gary Willis. They're all really good instruments in their own right. If money was no object I'd probably opt for a Fodera Tom Kennedy model.

[quote name='Faithless' post='1057574' date='Dec 13 2010, 05:57 PM']What I'm trying to say about McBride is that he may play that electric well enough, but, to me, if someone put a tape on of him playing it, I doubt if anyone could recognise it - "oh that's McBride and no one else!", unlike other bunch of electric bass players I know.. I can't say the same thing about Johnny P, because I haven't listened enough to his upright playing, but the person who did state that he doesn't have as strong voice on double as on electric was Janek.[/quote] I agree with you about McBrides electric playing.It's not as unique as his upright playing. I heard Janek say that about Patitucci,bit that's somewhere where we disagree slightly. I really do think that Patitucci has a strong voice on the Upright,just as much as on the Electric. There aren't many players who,I think,are able to do that.

Good post Faith. I think it is usually the case that a player is stronger on one instrument than the other,because it is difficult to keep up your chops on both. With regards to players like Patitucci and McBride-I think that Christian McBride is one of,if not the,the best Upright players around. He's a great electric player,but not to the same level as he is on Upright. I think that John Patitucci however, is one of very few players around who is equally adept and has his own voice on both instruments. Personally,I approach the Upright differently than the Electric in both my grooving and soloing.There are certain similarities,but the approach is different. The reason I play Upright on Jazz gigs,especially straight ahead ones,is because there is a certain sound and articulation that you can't get on an electric bass.When people say that the Upright 'swings' more than the electric (a stupid statement,but I've heard it),I believe that they are referring more to the envelope of the note,which is unique to the Upright.

[quote name='waynepunkdude' post='1056516' date='Dec 12 2010, 08:45 PM']I was playing devils advocate, I think there is great skill but it doesn't mean other ways of reading are any less valid.[/quote] Outside of certain specialised guitar and bass books Tab doesn't exist. You will never see a chart written in tablature for any instrument. I'm not talking about using it to learn songs in your bedroom,that can be done easily by ear.I'm talking about working as a musician. In the case of this particular topic,I don't believe that Tab conveys enough information to be useful in a book about chord tones-as I said earlier.

[quote name='Shaggy' post='1056347' date='Dec 12 2010, 07:14 PM']I rely heavily on tabs; it's an invaluable way of quickly learning the fundamentals of a piece of music, that I can then interpret in my own way. It's all relative anyway; virtuosos such as Segovia and Mick Karn who didn't / don't read music would probaly find conventional musical notation as stifling to their way of playing as language is to thought.[/quote] According to many biographies,Segovia taught himself to read early on and used to transcribe Bach pieces. [quote name='waynepunkdude' post='1056497' date='Dec 12 2010, 08:39 PM']Devils advocate: Surely it goes By ear = talented and devoted to getting it right by yourself Tab = Not got an ear for tone so need hints on key etc Music = Lazy and have everything written out for you. / Devils advocate[/quote] You know full well that that's wrong,and just trying to be awkward about things.