Doddy

[quote name='therose789' post='912901' date='Aug 2 2010, 03:34 PM']whats a m/cij?[/quote] Made/Crafted in Japan

[quote name='therose789' post='912796' date='Aug 2 2010, 02:00 PM']im looking for something to play rock kinda stuff, i play a lot of hillsong music so that gives you an idea what kind of tone im going for[/quote] I'll be honest.... It doesn't give me any idea what you're going for. Check out everything and pick which one feels and sounds the best to you.Don't discount an instrument because it's inexpensive either,you may be pleasantly surprised.

I think they are custom jobs by a Japanese company called Combat.

I'd be inclined to go for the Bartolini aswell,although I quite like the Ibanez pickup in the GWB35. I like and use Bartolini's anyway,so I would always check them out. The fact that Ibanez use a Bartolini NTBT preamp and a custom Bartolini pickup in the upper range Willis basses makes it a good choice.

[quote name='Huwberry' post='912403' date='Aug 2 2010, 12:44 AM']Anyone had any experience of the [url="http://www.guitarampkeyboard.com/en/75293"]Protection Racket semi-hard gig bag[/url]?[/quote] I used a Protection Racket gigbag for a few years before switching over to iGig cases. The one I've got is one of the older thinner sheepskin lined ones-It's just the same as their excellent drum cases. It gives good protection and is hard wearing. The iGig blows it away though.

I like active instruments,particularly on 5 and 6 strings,because I like the added flexability to boost certain frequencies,especially the lower range-for me it helps to tighten things up.It's the same with the upper range on a 6 string. However,the pretty much every one of my 4 strings is passive-There is just something about a passive Precision and Jazz that sounds 'right'.

[quote name='TimR' post='912269' date='Aug 1 2010, 09:20 PM']I'm playing with a 60 year old drummer at the moment no problems. What I meant by the stamina is that he's not played for 20 years.[/quote] Alright cool. If you don't play for 20 years,you will invariably lose your chops.Hell,if you don't play for 20 days you will notice your playing will slip.

If someone asks me what I do for a living,I say that I'm a musician. If I'm asked what I play,I say I'm a Bass player. I never use the term bassist though,I always say bass player.

The first question I have to ask is how did he get the gig if he didn't have a kit? I don't think that stamina should be an issue. I know lots of drummers who have been playing for 30-40 years and can still play for hours with no problems. If they've got their act together they'll be fine. As far as tempo goes,it's really the responsibility of the whole band. If you need to lead it from the bass, then do so. That doesn't mean simplifying what you play,it means play strongly and solidly so that there is no question where the time is. If the tempo is wavering slightly,I'd rather it get faster. I hate when the tempo slows down.

[quote name='stingrayPete1977' post='911744' date='Aug 1 2010, 10:48 AM']Who saw anyone funking on a ric Doddy? Thats just wrong on all levels! [/quote] It was just an example really. Although Rick James was pictured with one on the cover of 'Street Songs.' OK... He didn't play bass on the album,but still,it must give it some funk credence. [quote name='Pete Academy' post='912039' date='Aug 1 2010, 05:22 PM']We're all wrong. You need a Peavey, as this guy will now demonstrate: [url="http://www.youtube.com/watch?v=LSeLqqGHRgA"]http://www.youtube.com/watch?v=LSeLqqGHRgA[/url][/quote] I like how he basically f***ed up the slapping and decided to call it polyrhythmic,even though it wasn't except for the odd triplet.

It doesn't matter what the instrument is,it's how and what you play. It makes no difference if you have a P,J,Musicman,Ric or whatever. Find the bass that you like to play,and like the sound of and use that.

One exercise that I've always done is to play a click devided into semi quavers and move the accent on each bar. 'do on the first bar you'll play on 1,the next bar you'll play the 'e',the next bar the &,and so on until you reach the 'a' of 4. It should take you 16 bars. Another exercise that I nicked from the new Wooten DVD is to again divide the bar in to semi quavers,but this time play a three note pattern(say octaves going low,low,high). Do the same thing as before by moving which sub-division you start on. You can then play the pattern 4 times in a bar,again shifting the note you start on-so you'd play on 1,2,3,4 then the 'e's of 1,2,3,4,then the '&'s and so on. I hope this makes sense,because I'm on my phone at a gig.

For me,possibly the finest bass solo is by Willie Week on Donny Hathaway's 'Voices Inside(Everything is Everything). It grooves and it builds all the way through. Stunning. There are a lot of really cool bass solo's about. Obviously guys like Victor,Stanley,Marcus and Jaco have done some great stuff(Check out Jaco's solo on 'Havona'),but there are also players like Jeff Berlin,John Patitucci,Jimmy Haslip and Janek Gwizdala who solo in a more horn-like fashion.

I think you can teach it to a point. It's easy to teach the notes and the rhythms,the problem comes with the interpretation. If you've never at least listened to a style it is unlikely that you will be able to cop the feel,at least initially. It's the same with any style.

Kyle Eastwood-Metropolitain

In all honesty I don't think you really need to worry about this,as it's pretty unimportant. The problem that bands have during 'Big Rock Show' endings is that everyone tries to play their fancy licks and it ends up being a mess of everyone doing different things with nothing standing out. What I like to do is just play the root rapidly,sometimes sliding up to the octave and some times playing a root,fith,octave 'power' chord if it's a trio. If the guitar is widdling and the drummer is filling around the toms and cymbals,someone needs to keep the final chord holding....and that's your job.

I'm always looking for more gear.The only problem is that I don't like getting rid of stuff

It also says something that Zappa was willing to break up the band rather than get rid of Thunes. His playing speaks for itself.Some of his playing was just brilliant,and his growly P-bass with a pick tone is uniquely great.

All I'll say is that Scott Thunes is awesome,and that interview with him was one of,if not the,best articles that Bass Player has done. The full version in the book 'In Cold Sweat. Interviews with Really Scary Musicians' is even better. I'm off to listen to 'Make a Jazz Noise Here' and 'The Best Band You Never Heard in Your Life'.

Stevie got a great synth style....totally Jamerson influenced. His line on 'Boogie on Reggae Woman' is pure genius.

I've got no problem with good synth bass playing. Guys like Greg Phillinganes and Michael Boddiker do some brilliant synth bass lines. Neal Evans from Soulive is doing some cool stuff too. I haven't played keys for a while,but I recently bought an Akai Miniak and have been getting my synth chops back together and loving it. It's a totoally different sound and vibe to playing Electric or Upright.

While a magnetic pick up like the EMG is good for volume,it does take away the actual 'character' of the bass,making it sound more electric-like. It's also worth noting that a pickup like this will also not work with certain strings. If you use predominantly nylon or gut strings,a magnetic pickup is useless.

[quote name='Mark Percy' post='904323' date='Jul 24 2010, 09:15 PM']go to my free manual for bass, on www.markpercy.com there you will find tons of useful stuff for free. cheers, mark.[/quote] I hope so,because there is nothing particularly useful here.

[quote name='thisnameistaken' post='902732' date='Jul 23 2010, 02:18 AM']I never understood John Entwhistle. I sounded fairly good when all I had to spend on an amp was a hundred quid. Meanwhile he had practically unlimited funds and a rig half the size of Wembley and still routinely sounded like sh*t. But he was good, right? He also played sh*t-looking basses, so he could look like sh*t while he sounded like sh*t. I know he's dead and all but seriously he's one of the shittest-sounding and shittest-looking bassists ever. Meanwhile McCartney managed to sound good on every record I've ever heard him on, and he wrote all the Beatles' best songs. Making him f***ing loads better than John Entwhistle at basically everything except being a pretentious pointy-guitared twat.[/quote] I'm going to be controversial here......I actually agree with this. Like I said,I quite like McCartney but I'm not a massive fan. However I don't get Entwistle at all. I don't like his playing or his tone.

Check it out... [url="http://www.bassplayer.com/article/manson-john-paul/July-2010/117165"]http://www.bassplayer.com/article/manson-j...uly-2010/117165[/url]