Doddy

[quote name='wotnwhy' post='787279' date='Mar 26 2010, 06:16 PM']so there's a wooden AND composite bodied curbow done by tanglewood AND a composite bodied by cort? learn something new every day! aaaaaaannnnnnnnnndddddddd we're back on topic! Throwoff, looking forward to hearing what you have to say [/quote] Just keeping of topic for a minute.... I think that the composite Curbows were branded as Tanglewood in the UK on their initial release. Later they were rebranded as Cort,as Tanglewood released a wood 'copy' called the 'Canyon'. Back on topic....... This could be an interesting endeavor for Overwater. I'm guessing that they will probably be made in the Cort factory anyway.

[quote name='Marvin' post='787003' date='Mar 26 2010, 03:04 PM']Most drummers seem to vastly overrate themselves - well the ones I've met.[/quote] To be honest,so do a lot of other musicians.

[quote name='warwickhunt' post='787125' date='Mar 26 2010, 04:12 PM']Sorry got to disagree. A girlfriend (yours or otherwise) is far more useful than a guitard... at least a girlfriend would help carry the gear! [/quote] You must be lucky,I've never known any who actually carry gear,unless they are in the band.

[quote name='budget bassist' post='786967' date='Mar 26 2010, 02:28 PM']One guitard and his girlfriend [/quote] There's a way to make more space...... The girlfriend has no need to be there

Both are important skills,and aren't mutually exclusive. There are gigs that require you to read charts,and others where you have to busk. If you can do both you will get more work. The only way to improve your reading is to read. I know that sounds like a lame answer but that's really it. If,like wil said,you are playing the charts from memory and not actually reading them anymore,move on to a new piece that you haven't learnt. Even though you can learn to read at home,I would still recommend a few lessons with someone,not neccessarily a bass player. It will give you a purpose to read and not go off on a tangent,and they will point out the mistakes that you may skip over otherwise.

[quote name='Stylon Pilson' post='786064' date='Mar 25 2010, 05:27 PM']The CV jazz is only available in that colour, yes. There are also two CV precisions available - a 50s style one in LPB and a 60s style one in sonic blue.[/quote] Although the Biffy Clyro model comes in a really nice Lake Placid Blue. It's a bit dearer to the standard white model though.

I posted about this a while ago. It's a lovely looking bass but waaaaaay to expensive. $6666!!!!!! That's $1111 per string.

In my old Ford Ka I have been known to fit in 2x10 Hartke bass cab Hartke head in Flight case Marshall Guitar combo 2 12" + horn PA speakers Mixing desk in box Case of PA leads Case of instrument cables Sports bag of Instrument cables 2 Mic Stands 2 Speaker stands Guitar in gig bag Guitar in hard case 2 basses in gig bags 2 suit bags 2 people I've also easily fitted my 4x10,head,cases,bass and 5 piece drum kit and accessories and 2 people. I now have a van,and have carried my rig,full drum kit,guitar rig and 3 people.

[quote name='Kohpnyn' post='786511' date='Mar 26 2010, 12:00 AM']Well, the theory goes that playing with a drum machine lulls you into a false sense of security - making you feel a groove when there isn't really one. Different strokes for different folks really.[/quote] Ahhhh,but the trick is to make it groove. You can also set a metronome to click on 2 and 4 and try to make that groove.If I ever use a metronome this is what I do. If you want to play with a drum machine or whatever, I'd advise that you don't do it until you are totally comfortable with the notes and rhythm of whatever you are playing. When playing an exercise with a click from the beginning,many people become too focused on the time and don't pay enough attention to the other aspects and often let mistakes slide in order to play it in time. In the practice room it doesn't matter if you are in time or not. Play the exercises and focus on getting the notes correct and consistent. Later on if you want to play them with a click,go for it, but don't be afraid of stopping and fixing your mistakes out of time.

I finally got around to buying this today. It's dead good. I'm sure it'll get a lot of use in the near future.

[quote name='Earbrass' post='785664' date='Mar 25 2010, 11:52 AM']Forget Miller, Wooten, King and the rest, if you want great slap... [url="http://www.youtube.com/watch?v=IhJQp-q1Y1s"]http://www.youtube.com/watch?v=IhJQp-q1Y1s[/url][/quote] Ace. Brings a whole new meaning to slap bass

[quote name='51m0n' post='785691' date='Mar 25 2010, 12:08 PM']Hmmmmm. Dont think some of this is accurate. The length of the string that matters is the length from the nut to the bridge. Not the length from the tuner head to the ball end. Since those extra lengths on each end are not part of the vibrating string. The tension required to get the string to pitch is dependant on the length of the string (as described above), the active part of the string if you will, the pitch you want it to get to, the material that the string is made of, and the construction of the string. I could have 2 miles of string from end to end at a .105 gauge, if I have a 34" section in the middle of it, then the tension required to get the string up to pitch in that middle section will be the same as if the entire string length was 38". The excess length is not relevant since the length of the vibrating node is fixed. The longer that active length is the higher the tension required. So a 35" scale length (nut to bridge) requires more tension than the exact same material, gauge and construction string on a 34" scale length neck. Not much more though. Angle over the bridge makes virtually no difference to the tension, string through thte body will make virtually no difference to the tension, have a straight in line 4 or 5 tuning pegs on the top verse a 2+2 or 3+2 headstock, will make no difference. To the tension on the string at a given pitch. Whether these make some measurable differenceto the tone is something you can all argue about for days - I dont think it really does, compared to something more fundamental like string material density and construction. Dons tin hat, gets into bunker and waits for the shouts of "incoming!".... :ph34r:[/quote] Yeah,that's what I was thinking

I wouldn't recommend any songs to help you with string crossing. However there are a couple of exercises that I would recommend. Try taking a major scale and break it up in to different intervals,my particular favourites are thirds and sixths. So,for example,if you were going to play in thirds,you would play C,E,D,F,E,G,F,A,G,B,A,C,B,D,C. It makes it more interesting than regular scales,and you are crossing strings more. Even more so in sixths. For wide intervals you could try playing the same thing in tenths. Arpeggios are always good too-especially over two octaves. Also,try and keep a strict alternation of the right hand fingers when playing playing these exercises. It'll make things easier in the long run. Edit.... Don't rush it either-speed will come with accuracy.

How much does a decent bass cost? It depends on your idea of decent. The Squier Classic Vibes are good instruments and are really well priced-but some people won't look at them because they say Squier on the headstock. Some people think £2k for a Rickenbacker is decent,others think they are horrible. Don't go looking at instruments by price. Try them all.... you may be surprised at the one's you like the most.

I not aware of Fender making a Precision Bass with block inlays as standard-other than the Big Block Even Fenders short lived Duck Dunn model had a maple neck with dots. There have been block inlay Precisions,but they were most likely custom orders. Incidentally, Duck Dunn once said that he hated that Precision body/Jazz neck bass and only used it a few times,but he became associated with it because of the famous picture of him that appeared in the book 'The Fender Bass'. Most of the time he used a stock sunburst with maple neck Precision.

[quote name='ThomBassmonkey' post='785097' date='Mar 24 2010, 08:19 PM']So the string lengths are different. Strings stretch slightly while you're playing them, the longer they are, the more "give" they have. That'll be what makes the through body strung bass feel like the strings have lower tension (though at rest and after the initial attack they'll theoretically be the same tension and length). You could just try getting slightly thinner strings on your bridge strung bass.[/quote] I'm unsure about this,but anyway........... I don't know if through body or top load stringing makes that much of a difference. On a standard instrument the strings are put up to pitch over 34" from nut to bridge-I don't think that the length of string beyond either of these two points actually makes a difference. People can talk about 'perceived tension', but however long the string is beyond the nut and bridge is pretty irrelevant.

That is indeed a Roscoe Beck IV. The 5 string version was one of the first Fender signature Basses-after the Stu Hamm 'Urge'. I think the two switches are series/parallel switches. Great Bass for a great player.

They are all good,but I will always recommend the Bergantino cabs. However I would particularly recommend the HS series over the AE. Although they are heavier in weight,I really prefered the sound.

[quote name='Conan' post='784999' date='Mar 24 2010, 06:58 PM']Having said that, ever heard slap played on a Rickenbacker?! [/quote] Yes I have.... [url="http://www.youtube.com/watch?v=H_FAQteWySc"]http://www.youtube.com/watch?v=H_FAQteWySc[/url]

[quote name='cheddatom' post='784814' date='Mar 24 2010, 03:46 PM']Well, even though he was a great teacher, and probably the nicest guy i'll know, you're probably right. If i'd learned to read from the start I could have considered playing in loads more projects or maybe even getting good and doing sessions or something.[/quote] It's never too late to start.......

[quote name='cheddatom' post='784697' date='Mar 24 2010, 01:54 PM']Good point, yeh TAB doesn't show you how long the notes are (if that's what you mean?) My teacher was Joe Dring, you may have heard of him? He's very well known (and paid) in the area. It would have been good to learn to read music properly, but I couldn't say a bad word about him. I tried to read in my teens and couldn't do it.[/quote] No I don't know him. But I still say that if he started you on tab he did you a disservice.

I've never been a big fan of Mark King's tone-I've always found it too treble-y. Kind of a weaker version of Stanley. Yeah,'Pops' is really underrated. I've got a great album called 'Baked Potato Super Live' by Greg Matheison, and 'Pops' plays great. Victor Bailey has a really filthy slap tone on Weather Report's 'D-Flat Waltz'. Slap tone for me,starts with Larry and then kind of branches off into Stanley and Marcus.

[quote name='thisnameistaken' post='784219' date='Mar 24 2010, 12:06 AM']And you're a thick c***. Sorry is name-calling only allowed as part of a pun?[/quote] Yes it is. However with you saying that I'm prepared to make an exception...... I'd better not,I don't want to get banned.

[quote name='thisnameistaken' post='784219' date='Mar 24 2010, 12:06 AM']When the geezer is arguing Marcus Miller's sound I think it's relevant. If he was actually Jimmy Cliff then maybe it would be unfair.[/quote] I think you'll find that my choice of headwear is completely irrelevant to anything.

[quote name='Pete Academy' post='784210' date='Mar 23 2010, 11:59 PM']Sorry mate, but you're coming on as the 'pork pie twat'.[/quote] Brilliant.