Doddy

[quote name='bubinga5' post='849859' date='May 27 2010, 09:59 PM']im sure hes doing great now but its not really the point... ive only just seen it and i really enjoyed it and thought it was worth watching..check out his later vids if you want to.. [/quote] I have already checked out his recent stuff.......and he's dead good. [quote name='Johngh' post='849862' date='May 27 2010, 10:04 PM']Apparently, he's now about 17 years old and is Jay'Z's drummer according to the other links from the original one.[/quote] Yes he is Jay Z's drummer,but he's 25 now.

It's cool and everything,but that's from the Modern Drummer Festival '97. It was a great performance,but people are still talking about it as though it was only last week. Surely it would be better to focus on what he's doing now?

Once again,reading is essential unless you are a well known enough to be hired for your own style (players like Pino,for example). You should also be able to construct lines quickly from either a chord chart or just having a quick listen to the demo-therefor having a very quick ear is very important. You also need to be comfortable in a variety of styles,unless you want to be a 'stylist'. As far as getting the work,-that's a tough job. You need to develop a reputation as a player before you are offered the gigs. I don't think that calling up studio's and 'blagging' your way in will work. Usually they will have a pool of players that they will call who they know will get the job done quickly and correctly. Your best bet is to try and meet the 'serious' players-not the guys in other bands that are on the same circuit as you(although this is important too),but the players who are doing the sessions and other work like theatres, tours etc. They often have better reputations as players than the band guys,and if you can prove yourself to these guys as a reliable and versatile player who gets the job done well,they are more likely to pass you number on to the MD's who book the sessions.

Ideally,I look for both comfort and tone. Having said that,I don't find it a struggle to adapt to any size neck. It's not a matter of stretching,it's more about using my thumb as a pivot so that I can reach the notes.

I've never really had any interest in playing guitar-It was a choice between bass and drums for me. I've always prefered both of them to guitar. I started playing a bit of guitar about 3 years or so after I took up bass,and despite having a few guitars now,I've never wanted to take it as seriously as I do the bass.Even though I can play it well enough to gig,I don't feel the same passion for it. For me it's always been about the bass and drums.

[quote name='Chris2112' post='845327' date='May 22 2010, 08:35 PM']I guess I'll be switching off Stanley for a while then because DB playing really does bore me to tears.[/quote] I really like Stanley's upright playing-it's as unique as his electric work. I've just heard the clips and it didn't sound bad,but I wasn't excited by it. I'll probably still buy it though. It's cool that he's got Hiromi on the album-she's a great player-,but I don't really like Ronald Bruner Jr's drumming.

[quote name='Starless' post='847450' date='May 25 2010, 01:14 PM']Let's not start getting all chippy-on-the-shoulder because no-one else knows the ins-and-outs of our kit, or makes us feel under-appreciated. I haven't a clue what half the drummer's kit is called or why he bothers tweaking his tum-tums (or something) before a gig with the thing I normally use to bleed my central heating radiators. Guitarists have a suitcase of little boxes on the floor in front of them (with cool blinking lights and stuff) and they stand on them every so often, I'm just not interested in whatever they may be for.[/quote] I don't know if you're trying to be amusing here or not-but this seems pretty ignorant to me. No wonder people look down on the Bass Player if they come up with statements like this. I know what every piece of gear that the guitar players use does and I have a total knowledge of drums-more than most drummers I work with. As far as soundchecks go,I generally ask for the sound coming out of my amp to be made louder in the PA. One guy I work with has printed a 'bass tone eq' thing off the internet,and uses that to get a sound in the PA.I don't particularly like the sound he gets-not enough definition for me-and it takes him ages to get a sound. Another guy gets a great sound,and it takes him literally seconds.

After he left Ampeg,Wooten used a different rig for each night of his subsequent tour,before settling on the Hartke gear. I like and own Hartke amps,but I'm pretty sure he used better equipment on some gigs- I know he used Bergantino cabs one night,I also think he tried the Aguilar stuff. I have recently heard that Hartke are giving him a nice payment for using their amps,which is fair enough as he will sell them alot of gear. But I'm guessing that one of the most important things for a player like Wooten is the tour support. Hartke are obviously willing to supply him with amps all over the world,which makes life so much easier when you travel as much as Victor does.

I always recommend learning to read.It will allow you to access a whole world of material that is otherwise unavailable to you. Also,in the gigging world,TAB just doesn't exist. As far as theory goes,I feel that one of the most important things to know as a bass player is arpeggios. If you know what notes make up the chords, you will be able to play lines that are not limited to just the root note.

What I'd do in this situation is either use my Hipshot extender or play a five string-basically because I don't really like-or see the point of- detuning any string other than the lowest one. All the other notes are available to you in standard tuning. One band I regularly play work with wants to drop everything a semitone(well,the singer/guitarist does)-no problem.....but I'm going to stay in standard tuning. Of course if you have learned the songs using patterns then dropping the tuning means you can use the exact same fingerings,but if you are fully aware of the changes and the 'board I don't see that drop tuning is necessary.

[quote name='lozbass' post='766401' date='Mar 6 2010, 08:47 PM']The Bronco was introduced in the very early '80s (I think - maybe late '70s) Similar body shape to the Mustangs and Musicmasters but with a Tele shaped neck. Be careful - some Broncos had a 34" scale. There was a beautiful example sold on ebay in the US last week - lovely sunburst and one of the most beautifully figured birds-eye maple necks I've seen[/quote] That sounds more like the Fender Bullet to me.

I've always tried to be as versatile as possible-and so far it seems to be working. I've done a lot of different work in all sorts of styles-some I really like,others not so much-but I will always do the job as well as I can. It's funny how you can get perceived as a player-I do a fair bit of theatre work and get viewed differently by different MD's. One views me as a 'rock' player and will only give me the more rock-orientated shows on electric bass,whereas another only books me for Upright,and another books me because I can double. Even on 'one off' or regular gig's some people view me as an electric pop/rock player,while others know me as a Jazz Upright player. A couple of years ago I was did a few original gigs with a rock band as part of a multi band bill.One night we were playing with a full on,young metal band-they were cool and complimentary towards us and everything,but couldn't believe it when,a few weeks later,they went to the theatre with their girlfriends and saw me sitting in the pit,reading the show.

I once did a session for someone who insisted that I play a borrowed Rickenbacker with flatwound strings, tuned BEAD,front pickup only,tone rolled off,foam mutes on,with a pick. It was horrible.

I really like the white. The Black with white pickguard really works with the rosewood/block inlay 'board. It's a good look.

I find that by plucking lighter,I get a fuller,louder sound than if I start plucking hard.I also have pretty high action,which I find gives a better tone and more volume,but makes it harder to play up in thumb position. If you pluck too hard,you tend to 'choke' the sound more than if you would if you were to play lighter. I read an old BP interview with Christian McBride and Chris Wood,and they talked about this. As far as drummers,I love playing with a good brush player. The problem is a lot of drummers nowadays, don't know how to play with them.Brush playing is an art in itself.

[quote name='Rettoglide1' post='837121' date='May 14 2010, 01:25 PM']the type of music King plays is far superior to Flea's anyway...and Mark King has a proven track record of being able to play anything you can throw at him.........so the two are on totally opposite playing levels anyway.[/quote] Two things here...... First of all,Mark Kings music isn't superior to Fleas. It's different. Secondly,Mark King has a proven record of playing anything you throw at him? Sorry,but he is a 'stylistic' player who is hired to play like Mark King. Outside of his own music(Level 42 and solo) he has done very little. So,no he doesn't have a proven track record of playing anything thrown at him,because he doesn't have much thrown at him. [quote name='Rettoglide1' post='837220' date='May 14 2010, 02:46 PM']If you've been playing for any amount of time or are any kind of decent musician you will know the Level 42's records are musically and technically superior to RHCH just by listening.[/quote] I'm a pretty decent musician,and I don't find Level 42's stuff 'musically or technically superior'. They've both done good music,and they've both done crap. I don't however find either of them 'funky'.

You don't need a lot of strength in your picking hand-you don't need to pluck very hard really. Practice slowly and accurately and you will begin to develop the dexterity and stamina. Don't push it too hard by trying to play faster than you can. The more you play the quicker you will naturally get, and the more stamina you will gain.

It's Nathan Watts playing his Bossa UJB-5M

[quote name='Musky' post='832374' date='May 9 2010, 05:23 PM']Edit: Actually, just looking at the whole thing it's clear that's not a complete transcription of what the bass player is doing - pretty much like every tab I've every seen. Still, it's a start.[/quote] That's because it's a piano/vocal score. They pretty much always give a simplified version of the bassline.

[quote name='Randy_Marsh' post='835812' date='May 13 2010, 12:31 AM']what bass is Derek Smalls playing in the video?[/quote] It's his Lakland 'Burning Earth' Bass [attachment=49600:LAKLAND_MUSICAL.jpg]

So now you really need to get your reading chops together. I'd spend more time with the charts than listening to the CD to be honest-There are likely to be differences between the two. Listen to the music,but don't try to short cut by learning it by ear. You never know how many changes there are going to be in the final production. Hope it goes well for you.

[quote name='phil.i.stein' post='834746' date='May 11 2010, 09:54 PM']now this is interesting, you seem to like the compressor at the end of the signal. .. i like it at the start, but maybe the compression at the end is another requirement..how did you find that option better ? please give me your knowledge ..[/quote] On the odd occasion when I use compression,I always put it at the end of my signal chain to even out the peaks in the signal coming from my effects. I also find that I can 'control' how the pedals react better without the compressor in the way. Oooohh...I've thought of another desert island pedal-Boss RC20-xl

[quote name='Hot Tub' post='834728' date='May 11 2010, 09:34 PM']I think what's confusing me is trying to play something written for drop-D tuning, on a standard-tuned 5 string. Sure, I have the low D, but it's not where the written music thinks it is.... if that makes sense![/quote] Errrrr......... This is another reason why I have a problem with becoming reliant on Tab. The low D is written correctly,so there are no problems there. The only place where a problem/confusion begins to occur is in the Tab. If you have a solid knowledge of the fingerboard and even a basic knowledge of the stave, then a problem like this would be solved very quickly. (I'm speaking in general terms here,not specifically to you Hot Tub.) Also,by following the Tab you are looking at two staves at once-one for fingering,one for rhythm. If you get some basic reading chops you will have all the information available to you in one stave. Sorry to derail slightly,but whenever I see people getting confused about things like this when I'm teaching,it is often the Tab which is the source of the problem.

I don't know the song,so can only go by looking at the chart. There are a few low D's written, and so the Tab is written as though you are in drop D-therefor the 2nd fret is indeed an E. Edit...Of course if you are using a 5 string you can stay in standard tuning and play the low D's on the B string, thus ignoring the Tab-which can only be a good thing

[quote name='Rettoglide1' post='834525' date='May 11 2010, 06:54 PM']I like all sorts of players from MM to Stanley Clarke to Jaco and Weather Report, to Bernard Edwards, Mark King, JPJ, Verdine, Nick Beggs, Laurence Cottle, Bootsy, Francis Rocco, you name em i like em baby. Only making a point about MK because he doesnt deserve the sh*t names he gets called here.... and as for Flea he's an ok bass player, but nothing special, and certainly nowhere remotely near league of the guys i mentioned.[/quote] That's cool that you you dig all those players,but I'm willing to bet that there are also players that you don't really like aswell. For me,Mark King is one of those players that I don't particularly like-I have never been particularly impressed by his playing.I'm not giving him sh*t for the sake of giving him sh*t-I just feel that there are hundreds of better players out there.The same with Flea.