Doddy

Take a look at the Majors reading exercises in the Theory and Technique section-they are a good starting point. Also check out www.studybass.com

[quote name='Annoying Twit' post='923979' date='Aug 13 2010, 03:05 PM']At least he's not a complete turnip like Warren Cuccurullo.[/quote] Kinda Young,Kinda wow .....and kinda dumb.

[quote name='Pete Academy' post='923967' date='Aug 13 2010, 02:59 PM']Not a fan, then?[/quote] As much as I'm not really a fan of hers(although her solo album is quite good), Tal Wilkenfeld doesn't belong in this thread,as she is a far better player than guys like Wentz,Guigsy et al.

[quote name='Annoying Twit' post='923937' date='Aug 13 2010, 02:38 PM']Kinda young, kinda wow. Well, I had to make the obligatory comment after seeing the name Vinnie Colaiuta,[/quote] I thought it was Warren Cuccarullo? Vinnie was mentioned after.

[quote name='Chris2112' post='923922' date='Aug 13 2010, 02:30 PM']Another vote for Tal Wilkenfield. Not the most dire of the lot (perhaps), but so ridiculously overrated you'd think the greats like Jaco, Wooten, Hamm [i]et al[/i] had never been around! I contend that if she was a bloke, she'd have been written off as a lacklustre wannabe! Nothing personal against her, she's just uninspired and uninspiring![/quote] Although I'd never place her as an awful player,this is pretty much my opinion of her. She can play but there are many players who can blow her away,but aren't getting slipped a custard by Vinnie Colaiuta.

His playing on 'Room for Squares' and 'Heavier Things' is great. It's a shame and a surprise that he's not playing with John Mayer anymore-although Sean Hurley is really cool too.

[quote name='Mcgiver69' post='923797' date='Aug 13 2010, 01:11 PM']- He wanted to get the sound of another Zappa ex-bassist he listened too and fell in love with the sound. He used to play I think was an Ibanez active and he changed everything to P & Jazz basses with pick and Ampeg. At least that's was he said in one of his interviews.[/quote] He wanted to get the sound of Tom Fowler on,I think 'Roxy and Elsewhere'. Hence P-Bass with a pick. He actually used Carvin basses early on rather than Ibanez-he started using the Precision live on Zappa's '84 tour.

[quote name='Annoying Twit' post='923784' date='Aug 13 2010, 01:05 PM']Is the playing in question present on "Fall Out Boy" "Live in Phoenix"? Or has that been cleaned up?[/quote] I've not heard the live album so I couldn't say,but going on actually seeing them I wouldn't be surprised if it had to be cleaned up.

Have you ever heard Fall Out Boy live? I quite like the band(well.....they did two good albums anyway),but when I saw them there were a number of very dodgy notes courtesy of Pete Wentz. There were times when he'd pose and hit an open string that was just all kinds wrong.

[quote name='KevB' post='923679' date='Aug 13 2010, 11:56 AM']Ah, but he's using a pick so will get an automatic thumbs down from all the 'proper' bassists on here... [/quote] No ........I've already said that it's great

Great stuff. I've got the DVD of that show-it's just brilliant.

It's taken from the Stanley Clarke 'Night School' DVD,which I think has it's moments,but the end jam isn't one of them. It seems to me' like they are all trying to keep up with each other technically and it becomes a mess. It's a shame as they are all great players. Wayman Tisdale is s big guy,but then again he was one of the best power forwards in the NBA for years.Shame he died the other year Bromberg's piccolo bass is a bit noisy on here,but check out his album 'Metal' where he uses it to great effect.

Right ok. You don't need to hit the string really hard or to pull on it,in fact you'll get a better tone if you don't. Try to lighten your touch and turn the amp up to compensate. Just take it nice and steady and practise crossing strings using alternating fingers- two octave major scales are always good for that. Make sure you are doing it accurately and eventually you will notice that you will be able to up the tempo comfortably. Don't try to push it too soon. Speed will naturally develop over time.

[quote name='DreadAlert' post='923269' date='Aug 12 2010, 10:03 PM']My problem is that I spend to long on each string, what's a good way to get a good sound of the string quickly?[/quote] Sorry,but I'm kind of confused about what you mean by staying on the string too long?

[quote name='Gareth Hughes' post='922930' date='Aug 12 2010, 05:10 PM']I have the dots for it (it was in BassPlayer a few months back) but alas no scanner. I'll see if I can get it sorted for you.[/quote] It was in the June 2010 issue. Awesome bass line.

[quote name='Rayman' post='922960' date='Aug 12 2010, 05:35 PM']I still haven't seen Marcus live. I'm a big fan, and had a ticket to see him on the recent Tutu tour in London, but guess what? It was the same night as Bassday last November, where I was due to do a masterclass with.......Adam Nitti. So I wasn't going to miss out on that, and didn't go to see Marcus. His usual drummer Poogie Bell made an appearance at bassday though, and that was great fun, he's a funny bloke and an amazing drummer too.[/quote] Yeah I was at Bassday last year. I was hovering at the back of the Nitti masterclass.He's a great player. Poogie is a downright funky drummer too.

[quote name='oldslapper' post='922836' date='Aug 12 2010, 03:07 PM']I wonder if it is a Jazz thing? I play in 3 different "outfits" and the attitude of the band members differs greatly.[/quote] It's not just a jazz thing.There are players and bands in every genre that have delusions of adequacy. The big difference though,is that in rock music you can become very successful by being very mediocre.

Seeing Marcus Miller at Sankeys in Manchester in '96 did it for me. I'd only been playing for a few months and had not heard him yet. My dad took me to the gig and it blew me away. The feel,the groove,the playing,the sound,the energy and the music just changed my whole perception of the instrument.

[quote name='Bilbo' post='922720' date='Aug 12 2010, 01:44 PM']So why is it a crime to say, quietly and away from the public's gaze, 'John. We love you but you're not cutting it, mate. Go see this teacher. Go improve your time. Go work on your chops. Come back when you are ready'.[/quote] Unfortunately,people like to have their ego's massaged and don't like to be told if there is a deficiency in their playing. I've noticed this when I'm teaching....I've had people come for a lesson who have been told by their mates that they are ace,but are in fact lacking in many areas, who take great offence when you point out that they have limitations and suggest ways for them to improve.They come with the sole intention of being told that they are great and that I can't show them anything. I've lost gigs because people didn't like my playing,and early on I was told my reading wasn't good enough.You'd better believe that in situations like this,I went away and practised hard so that it won't happen again. That's why I still take occasional lessons.

[quote name='Bilbo' post='922428' date='Aug 12 2010, 10:30 AM']What I am saying is, don't expect to say 'I think I'll have a go at jazz' on Monday and to book a gig for your new jazz quartet on Friday.[/quote] Totally. I find the worst people for doing this are usually singers who think that going "Shoo Bop de Boo" automatically makes them a jazz singer. It doesn't.

[quote name='thisnameistaken' post='922561' date='Aug 12 2010, 11:57 AM']But further up the neck, say around A/Bb on the E string, if you're spanning a whole tone with fingers 1,2 and 4, and say you have to play a repeating triad pattern (as bass players are often required to do) that's going to be a change of position during each one (and a change back again to begin the triad again). Surely this is going to be more tiring than simply spanning three semitones with your hand (if your hand is big enough) and playing the triad without changing position? I appreciate I'm arguing against accepted wisdom here but it's something I genuinely don't understand the objection to.[/quote] Which is why I said that I sometimes use one finger per semitone from around the third or forth position. For certain lines further up the neck,where open strings become slightly more impractical,I think that it makes sense to apply a slightly longer stretch as long as it is still comfortable.In the first couple of positions I will always recommend using the Simandl 1,2,4 hand position though.I pretty much do the same thing on electric bass too.

[quote name='stevie' post='921901' date='Aug 11 2010, 07:30 PM']Not so sure he's "our" Janek any more. I had a quick read of some of his posts on here (very interesting guy) and it seems he got pissed off with people taking potshots at him. He hasn't posted for quite a while.[/quote] It's fair enough really. He got a bashing that was totally uncalled for. [quote name='blackmn90' post='922087' date='Aug 11 2010, 10:37 PM']And Janek is completely mad, i was with him for 2 hours and he is extremely opinionated and cockey. But the guys done really well for himself so i can only respect him.[/quote] I wouldn't call him cocky-I think it's more the fact that he is very confident in his playing,but lets be honest about it, he has the knowledge and the chops(and gigs) to back up what he says. He's always really cool with me.

[quote name='owen' post='921920' date='Aug 11 2010, 07:45 PM']I do realise that this could be a contentious statement, but you could use 1 finger per semitone. It is probably easier to do this if you are kicked off by a teacher who espouses that technique. The thumb placement is key. There can be an element of pivot on the thumb.[/quote] You totally could do that,in fact I sometimes do from about third or fourth position upwards.One of the main problems though is that it's a big stretch in the lower positions to use one finger per semitone,which could result in injuring the hand. Also,the ring and little fingers are weaker than the first two(and share a tendon) so by using the two together it gives you more strength to play the note.

[quote name='fatback' post='921808' date='Aug 11 2010, 05:33 PM']I imagine this thread all by itself has cleared a fair bit of undergrowth. I sure won't be risking jazz any time soon [/quote] I know it was originally about jazz,but I think that it's relevant in all kinds of music.

[quote name='Pete Academy' post='920317' date='Aug 10 2010, 08:35 AM']I actually agree with you on the Primus one. But I think you've barred my posts. Oh well... [/quote] Snap. Claypool's little 4 bar break is supremely cool,although I prefer the later live versions of 'Tommy the Cat' with 'The Awakening' tagged on.He does a cool little solo on 'Those Damn Blue Collar Tweekers' aswell. I like 'Boning in the Boneyard' too.