Doddy

[quote name='Pete Academy' post='780087' date='Mar 19 2010, 06:20 PM']That would be Coldplayer. [/quote] Of course it is......

[quote name='Toddy' post='779550' date='Mar 19 2010, 10:52 AM'](Just had a quiz question on who wants to be a millionaire on my phone,,, nearly dan is a tribute to which famous band,,,,,cool huh!!)[/quote] Errrr.............is it Coldplay?

[quote name='Pete Academy' post='779365' date='Mar 19 2010, 07:10 AM']Try contacting Doddy, as he really knows his stuff.[/quote] Cheers Pete. For transcribing chords,I would suggest first of all finding the root note,then the melody note(which is often the top note)and then find the harmony(major,minor,7 etc.). It's easier to do this on a keyboard as you can voice the entire chord cleanly and easily experiment with different harmonies. To stop you from 'flying blind' in a live situation,there are two things that I'd recommend. You need to become familiar with the sounds of the various chord tonalities,and this can really only be done by playing and listening to them. The more you hear certain chords,the more you will begin to recognise their individual sounds. Again,this is best done on a keyboard. You also need to become really comfortable with arpeggios-which are just chord tones played individually. When you have them down,it will allow you to explore the chords more than just the one or two notes that you know are 'safe'. You can do this on the bass. Like everything else it comes down to practise. The more you do it,the easier it becomes.

You've only cut one finger haven't you? Use the other three that you haven't cut... Problem solved.

I've not heard that version before,it's cool. The high bit in the intro sounds to me like he's basically going between the 3rd and 7th of Dm7. So just an F and C really. It's not particularly difficult.

Primus-Rhinoplasty

Oh dear. Not only is it wrong,but you should play it 'lots'.

I'm pretty much with Jennifer on this one. I often use different fingers to play notes on the same fret-especially with my ring and little fingers. Even though I can cross strings with the same finger it is sometimes more practical and,most of all,comfortable to just switch fingers. I'm not really big on using the barre technique. I very occasionally use it if I'm doing something really fast,but usually i prefer to 'roll' my finger from one string to the next. It almost looks similar to barring-but it's not. Ultimately,like most technical things,it's about getting the job done efficiently, and the more options you have the easier it becomes.

[quote name='Pete Academy' post='777834' date='Mar 17 2010, 07:14 PM']Is there a B# in there by any chance. [/quote] Not in this particular example there isn't.......

If I was given those chords I would naturally start with the correct root notes regardless of the tuning. However I have noticed a tendency for,mostly dodgy, guitar players to detune to say Eb and still refer to it as an E which it is not anymore. So if I was detuned a semitone and was told to play an E,I would naturally play the first fret of the now Eb string.

If you have to tune down you should be able to do it by dropping your low E to a C and keep the rest in standard. If you are going to string up another bass differently I'd suggest tuning it like the bottom 4 of a 5 string-BEAD. To me it makes more sense than CFA#D#. I've played the song comfortably on a standard tuned 5 string with no problems.

[quote name='Basska' post='776893' date='Mar 17 2010, 03:37 AM']Sorry, I didn't mean to imply that it did![/quote] I wasn't saying it specifically to you-no need to aplogise It was more of a generalised statement as so many people now think that the lower the tuning, the heavier the music.

I don't really like all this drop tuning lark.It throws off my whole frame of reference,although I can handle drop D. I'm yet to come across something that I haven't been able to play in standard tuning. I do have a Hipshot extender key on my main Fender for the odd time where I may have to read a low Eb or D and I'm not using my 5,but it's rare that I use it. Out of all my instruments the only one in a different tuning is tuned up to 'tenor' tuning ADGC. Also,to add some possible controversy..... Lower tuning does not make the music heavy. Some of the heaviest music ever has been played in standard tunings.

[quote name='Twigman' post='776394' date='Mar 16 2010, 04:18 PM']but they are the same key (tonally) there is no difference. Emaj = C#minor[/quote] Again... Same notes different context. Edit..... Thanks Rich

[quote name='Twigman' post='776367' date='Mar 16 2010, 03:53 PM']but the same note all the same... So the 3rd in C#maj is E# not F? it'll always be F to me...maybe it's because I was brought up on piano...[/quote] The 3rd in C#major is always E#. The 4th is F#,and you don't have both an F and an F# in a major scale. It's nothing to do with playing piano or not. The theory is the same every instrument. Edit..... Yes 4 sharps is also C# minor,but this tune is in E major not C# minor.

[quote name='Twigman' post='776349' date='Mar 16 2010, 03:32 PM']your assertion that the notes were the SAME but DIFFERENT just seemed a bit desperate to me how can notes be [i]the same note enharmonically,but they are technically very different. [/i]? Either they are the same note or they are not.[/quote] In the key of C# major or minor there is no C natural. Let's take C# major for ease. The notes are C# D# E# F# G# A# B#. (In minor the E A B are natural). In a major or minor scale you have one of every 'letter' so the seventh note has to be a B# and not a C as you don't have a C and a C# in the same scale. If you were then to apply this to chords,say a C# major 7 the notes are C# E# G# B#. It's a B# because it is the seventh note. A C would be flattening the root. Same note enharmonically-different function technically.

[quote name='josh3184' post='776341' date='Mar 16 2010, 03:26 PM']Pissing myself laughing. Think of it as lol#[/quote] Alright,thanks for that. So,Twigman..... What was so funny about my post?

[quote name='Twigman' post='776258' date='Mar 16 2010, 01:45 PM']pmsl[/quote] ??? I don't know what that means

[quote name='Twigman' post='776001' date='Mar 16 2010, 09:27 AM']B#=C :smoke:[/quote] Good try,buy no. In the key of C# minor the seventh note is a B,and if you were to raise it it would make it a B# not a C. They may be the same note enharmonically,but they are technically very different.

[quote name='Crazykiwi' post='775851' date='Mar 15 2010, 11:38 PM']If Lee Sklar is playing, chances are it will be a Yamaha TRB.[/quote] Or more likely his 'Frankenbass'-A Charvel body with a shaved Fender Precision neck,mandolin frets and twin EMG P pickups.

[quote name='Twigman' post='775462' date='Mar 15 2010, 05:58 PM']C# minor anyone? and why not?[/quote] What Rich said.

The Squier VM Jazz is worth a try-especially if it's your first fretless. I really like the Ibanez GWB35. It's been my main fretless for a few years now,and is a really good instrument.

So,it looks like Ibanez have kind of revived an old Doug Wilkes idea with the new Ashula. It's a 6 string bass,only with four stings in standard tuning being fretted,and another D and G string being fretless. [url="http://www.ibanez.com/BassGuitars/model-SR2010ASC"]http://www.ibanez.com/BassGuitars/model-SR2010ASC[/url]

I think you're more likely to get CTS in the plucking hand by having a sharp wrist angle or by resting your forearm on the top of the bass. If you have a fixed anchor point,like the pickup,you will naturally get sharpen the angle of your wrist to reach the higher strings-especially on extended range instruments. Using the floating thumb does alleviate this,but I find it awkward as I've got double jointed thumbs-that's why I use the moveable anchor. Remember though,if you are anchoring your thumb-either fixed or moving-don't apply a lot of,if any,pressure. It's another sure fire way of knackering your hand and hindering your mobility.

[quote name='mep' post='774658' date='Mar 14 2010, 08:31 PM']We were called Stereotonics. We were based in South Devon and played quite a few places over the south west and wales (of course). The student scene was the best. This was between 1999 & 2002. There was another band with the same name around the same time. They even played at a local venue in Paignton once which I went to. You weren't in the band were you?[/quote] Yes I was in that one I was with them for about 12-18 months around '04-'05....they're still really busy. The Half Moon in Paignton right?