Doddy

[quote name='MythSte' post='774721' date='Mar 14 2010, 09:44 PM']Thats something I genuinly didnt know! I thought you anchored your thumb on the string before that gives you enough leverage to play effectively?[/quote] Here's a short vid of Todd Johnson demonstrating the floating thumb..... [url="http://www.youtube.com/watch?v=PPVMBPmrblU"]http://www.youtube.com/watch?v=PPVMBPmrblU[/url]

[quote name='MythSte' post='774564' date='Mar 14 2010, 07:00 PM']Handy tip - resting your thumb on the string above the string your playing is callde Floating Thumb technique [/quote] Technically it isn't. The Floating Thumb technique doesn't involve resting the thumb on the stings.It 'floats'-hence the name. I tend to use a movable anchor,where my thumb rests on the pickup and then moves onto the lower strings-usually up to the D . If it is always anchored on the pickup it becomes too much of a reach to play the higher strings-especially on a six string.

[quote name='bartelby' post='774497' date='Mar 14 2010, 06:07 PM']Drink! [/quote] Better yet..... don't

I use a Boss LS2 to switch my effects in and out of my signal path. It does a good job,and it's got plenty of other usable options.

It's really not that complicated to understand. If you are in the key of,say G, every F you play will be an F sharp-Play a G major scale and you will see why. This will be denoted at the start of the piece with a sharp sign on the F line. If you are later required to play an F natural,a natural sign will be placed by the note,which is then applicable to the rest of the bar. The same thing will happen if you have to sharpen or flatten a note. These are called accidentals. In this piece we are in E,so we sharpen every F,C,G,D unless otherwise noted. Again,play an E major scale to find out why.

Using in ear monitors has been the solution for me. Also,since using the Gramma pad I seem to be able to hear my amp better

To answer your first question,if I am practicing reading- which I rarely do anymore-I don't bother running it through every key.I just play what's on the page. However,if I find a particular lick or something,I will play it all over the bass, and in every key.Normally this happens if I'm reading or transcribing a solo-not often a bassline. As far as charts on gigs goes,every reading gig I've done has been virtually all in bass clef. However,occasionally you see treble clef written in the upper register to save writing lots of ledger lines. Also, if I'm ever given a lead sheet,it is always in treble clef. If you are comfortable with treble,you can then take the melody if you want-or are asked-to.

[quote name='mep' post='773119' date='Mar 12 2010, 08:10 PM']I was in a Stereophonics tribute band[/quote] Which one?

[quote name='Pete Academy' post='772457' date='Mar 12 2010, 09:15 AM']She's one of the greatest groove players on the planet. Who's the bassist at the Glastonbury gig?[/quote] It's Yossi Fine on bass. Also Jojo Mayer on drums and both David Fiuczynski and Wah Wah Watson on guitar. Too funky

Check out the Emma Electronic ReezaFRATzitz or even the new Fender Sub Lime

[quote name='Pete Academy' post='773090' date='Mar 12 2010, 07:39 PM']SD Curlee, as does Hondo, brings back fond memories - along with Columbus (my first 'proper' bass, a Jazz copy), Antoria, Jedson, Gherson, and many more. And if I'm not mistaken, did Woolworths have a brand called Winfield? Pass me that Werthers, dear.[/quote] Back then,all this was fields.............

The K5 is a really nice bass. However,if you want an Ibanez I'd look more at the Soundgear range, unless you particularly want the Fieldy signature-As nice as the bass is,this is what put me off it slightly.

+ 1 to what Jake said. It's all a matter of listening.You can use software to slow down and isolate parts,but it will be better for your ear if you don't. Also,you will be able to figure out the lines easier if you have any knowledge of theory,as you will be able to predict,often quite accurately,where things are going-even fills. If you know about intervals and common progressions it takes away a lot of guess work.Even fills are often just pentatonic patterns-in rock at least. In response to Solo4652, I feel that the tab hunting way of doing things is really pretty bad,and I would never recommend it to anyone. Having said that,I would never recommend any form of tab to anyone anyway.

There is also a track called ' Whamola' on Purple Onion-it was used as the theme to South Park in the later series'. The masks were pretty weird. Sam Bass on cello looked particularly freaky.

If I'm on a high pressure gig,I am a lot less likely to make a mistake than if I was playing a small laid back gig where I've played the set loads. I like the pressure of having to get it right-like sight reading in front of 2000 people or something.In them kind of situations I always feel like I raise my game higher and make no mistakes,whereas if I'm doing a small pub set,my mind might wander a little more than it should at times and I might make some mistakes. Pro players make mistakes like everyone else,the difference is that they can get out of them more easily.

[quote name='Stan_da_man' post='765854' date='Mar 6 2010, 09:33 AM']Oh yeah, I always have a BDI21 in case there isn't an amp but out of the last 30 gigs or so I had to use it once.[/quote] Whereas,in the last 10 years,I can count on both hands the number of times I didn't use my own amp-foreign work excluded.

Les Claypool's band had a definitive style going on the other night. While Les was in his suit,the rest of the band all wore full Tuxedo's and Richard Nixon masks. It was slightly freaky,but cool.

I think that is Space Bass which was made by Larry Pless. I think Bootsy had it modified at one point to have five pickups.

I'll totally vouch for it's wonderfulness. It's a stunning bass and the tone is just............perfect.

I'm still buzzing from the gig now. For those who care,this was the set list.....(taken from the Bullboard) Rumble of the Diesel Duchess and the Proverbial Mind Spread Amanitas Cosmic Highway Red State Girl You Can't Tell Errol Anything Precipitation Drums/Whamola Jam Boonville Stomp David Makalaster (part 1) Southbound Pachyderm D's Diner Encore... Iowan Girl Riddles are Abound Tonight

I've just got in from the show and can't say just how good Claypool is. It was an awesome gig- the band was killing. And...to make things even cooler,I met him before the gig. What a dude

[quote name='Pete Academy' post='766677' date='Mar 7 2010, 08:53 AM']Doddy is now an official SASM. [/quote] It's true,I am. ....But only through the loudest amp in the shop with the coolest bass.

I tried one of these the other week,and really liked it. It's a big bugger,but it has a great sound.

I love single cut basses-I find them really comfortable to play. They balance really well and facilitate good technique in the upper range.

[quote name='RhysP' post='766945' date='Mar 7 2010, 03:07 PM']He also had a Zon Sonus signature model - with a wooden neck for some strange reason.[/quote] I know,I didn't get that really,either. He's best known for using his silver Fernandes,and before that it was mostly Tobias and Musicman,and a Fender with BLS. I've got no problem with signature instruments-I own a few myself-but lately,Warwick seem to be just trying to lure some high profile players with the insentive of a signature bass.