Doddy

[quote name='Clarky' post='1045816' date='Dec 2 2010, 11:22 PM']Sense of humour failure Doddy?[/quote] Long few days. I've just read so many things where people slag Jeff Berlin off based on his image (or lack of),that I'm not quite sure if it's in jest or not.

[quote name='xgsjx' post='1045803' date='Dec 2 2010, 11:04 PM']I get where you're coming from. Slap can be done without having open E as the root, be in time and without a million notes randomly fired into a bar.[/quote] Very true. However,most players don't seem to grasp the concept of playing in keys that aren't E minor. Although,in fairness,there are a lot of finger and pick players who have the same problem.

[quote name='Krysbass' post='1044314' date='Dec 1 2010, 08:46 PM']Have to say I'm disappointed at the Bass Day review in the current issue. Lots of pix, but no captions or anything in the text to tell you what you're looking at. In all honesty, the only people I definitely recognise in all those pix are Stu Hamm, Billy Sheehan and Victor Bailey. Only by a vague memory and deduction have I guessed that another one must be Steve Williams - the show organiser, but that leaves about 8 or 9 other people unidentified. [/quote] Half the pictures were of Dave Marks. He's a cool player and everything,but he seemed to get a lot of coverage-maybe because he writes for the magazine? [quote name='Clarky' post='1044639' date='Dec 2 2010, 08:30 AM']Read mine on way to work this morning. The letter that prompted Jeff Berlin's response was a bit silly but Jeff Berlin's ego is off the scale. He might be a great bass player (and is undoubtedly amazingly technically gifted), but what an arrogant SoB. No wonder he divides opinions - and thats before we even mention the 70s porn star moustache and the waist high jeans and Hi-Tops![/quote] But the way he looks has absolutely no relevance to anything.

[quote name='Pete Academy' post='1042833' date='Nov 30 2010, 07:50 PM']Do you ever feel like you want to explore different playing techniques but haven't got the inclination or patience to do so? Or are you happy with how you are?[/quote] I'm never totally happy with where I am-I always want to go further. Technically,I've tried most things.I've certainly got the patience to do it.Normally if I want to try something I'll sit for a few hours until I've got it. Even though I play with my fingers 95% of the time,I still keep my thumb and pick chops up.

[quote name='Moos3h' post='1041772' date='Nov 29 2010, 10:46 PM']Just read the latest issue this evening. Only comment is what a bell-end Jeff Berlin comes across as in the letters page![/quote] I thought the original letter writer was just as bad. The interesting thing in the mag for me was the interview with the new girl from the Smashing Pumpkins (very tidy,by the way). She mentions how Billy Corgan got in touch after her band supported his,and he offered her the gig. So,the whole 'open auditions' via YouTube were bullshit then?

Just buy a copy of the book. That way,if a tune is called out of it you won't be struggling because you didn't print it off. Also if you have an iPhone check out the iReal Book app. It's got the changes for around 900 tunes. There is no melody line,but it's great if you are walking or comping.

I like this thread. Nice one guys.

Lately,I've been gigging on 5 strings all the time. I may only use low B string once or twice during a gig,but I like having it there just in case I want or need to use it. As far as 6 strings go,I've got a couple and am comfortable using them,but I just prefer the five-especially if it has a two octave 'board. I do like the upper range.

[quote name='AntLockyer' post='1039228' date='Nov 27 2010, 08:04 PM']I have a question that is kind of related. I know the above notation is E A D G what I want to confirm is that it relates to the actual notes you would get if you played open strings to get it. Does that make sense?[/quote] Yeah that's right

[quote name='Truckstop' post='1038892' date='Nov 27 2010, 03:48 PM']Twat Truckstop[/quote] Eh? Who is and why? It seems pretty unnecessary

I looked at that earlier. Everything about it is wrong. The colour,the inlays,the headstock logo,the bridge,the truss rod,the neck plate......all wrong. Even the chrome pickup cover is a Precision style and not a Jazz. Horrible.

Mine goes out of the tuner out on my volume pedal which is first in the chain. That way it's always on and I can just bring the volume down for silent tuning.

Whereas,I've never had any problems with it physically-no injuries or anything. Also,I don't think it's pointless-I often use it as a pick substitute.

[quote name='topo morto' post='1037248' date='Nov 26 2010, 01:02 AM']Very nice. How do you even pick that? ring-middle-index-middle? (and is there an easy way of writing that? like PIMA... but for the bass...?)[/quote] It's index and middle fingers alternating. I don't know what PIMA is? But an easy way of writing it is just octaves in semiquavers.

If someone is making a slight profit on something,then I'm not too bothered as long as I'm happy with how much I pay and they aren't rubbing my face in it. If someone bought a US Fender for £200 and sold it for £300,everyone is happy,as long as the seller didn't brag about it. What narks me is when someone puts something like "I paid £500 for this and want to get my money back". I might usually be happy to pay that price,but because they said that was what they paid for it I now want to pay less than that. If nothing was said I'd be non the wiser.

[quote name='stingrayPete1977' post='1036939' date='Nov 25 2010, 09:03 PM']My book only refers to the notes as whole,half,quarter,8th or 16th Is it because its a yankee doodle book do you think?[/quote] Yeah,they are the 'Americanisms'. They make sense,but it's worth knowing both names (crotchet/quarter note,etc),especially as over here you're more likely to hear them referred to by their 'proper' names.

[quote name='TomTom' post='1036759' date='Nov 25 2010, 06:56 PM']Rio, by Duran Duran. Awesome.[/quote] It is indeed...but not instantly recognisable to everyone from just the bassline

[quote name='stingrayPete1977' post='1036653' date='Nov 25 2010, 05:40 PM']Going the other way I presume for a whole note I pluck once and let it ring for the whole bar and 2 plucks to a bar for 2 half notes?[/quote] That's it.

I went to one the other day that had a Behringer head with matching 2x10 and 1x15 cabs.There are others where I've never even seen the bass amp. I always use my own gear in rehearsal rooms anyway,so I've never had the need to look what they've got.

[quote name='stingrayPete1977' post='1035528' date='Nov 24 2010, 07:51 PM']For [b]bilbo/doddy[/b]- If Im following the staff in C time with quarter notes I presume I should pluck, Slap, Pick or whatever 4 times in a bar and I should just be letting it ring out for the duration of a whole or half note? (unless it says stacato etc obviously). The book has confused me a little with the way the flags are shown for practicing timing of 8th and 16th notes, If there is say a D with a stem and 1 flag how many plucks should I do, one but at the timing interval required to fit it where 1 8th or 16 would go? That seams right to me but in the section to clap along with it just doesnt seam to work although obviously the rythms are set out very uneven unlike a piece of music to try and get you to understand,But I dont! Ta[/quote] I'm a bit confused as to what you mean,sorry,but I'll have a go anyway If you have a bar of 4 crotchets you will play each note to the value of one beat. If you then change that to four quavers,played on the beat,you will be playing the notes in the same place,but they will last for half the duration-a quaver followed by a quaver rest. So it goes from playing 1,2,3,4 to 1(+),2(+),3(+),4(+) with a rest on the 'and' of each beat. If you go down to semiquavers it's the same thing- you'd play the first one and then rest for the next 3- eg 1(e+a),2(e+a),3(e+a),4(e+a). You are still playing on the beat,but only for the duration of a semiquaver. Hope that's not too confusing.

[quote name='Pete Academy' post='1035531' date='Nov 24 2010, 07:55 PM']I think that's the same person, having re-invented herself.[/quote] No it's not.

[quote name='lojo' post='1034160' date='Nov 23 2010, 05:56 PM']Thats ended any lending or sale of your 2nd hand books to members on here [/quote] Haha. It's a good job I don't lend or sell my books then.

I love Phish......my favourite band The entire bands setup's (including Mike Gordons bass rig) is here... [url="http://www.proaudiostar.com/phish"]http://www.proaudiostar.com/phish[/url]

[quote name='earlyman' post='1033271' date='Nov 22 2010, 10:18 PM']Again, I'm not talking about remembering material for performance etc. I'm just asking whether, in a practise/study situation, notating stuff enhances your understanding of something you've learned?[/quote] I think it does. If you transcribe things I find that you are more likely to study what is being played,and why,than if you just learn it from memory.Obviously I'm not talking about transcribing an Oasis bassline or anything (although this might be a good starting point for someone who is just learning to write stuff out). I find that by writing it out I can get deeper inside it and pick out more of the nuances,and take ideas that often don't fall naturally on the bass. Even for a gig situation,if you are depping it is so much easier to write out the main lines as a reminder if you have to learn an entire gig in a day. I also find that I tend to remember them better if I've written them out. Plus,it's fantastic ear training.