Doddy

[quote name='PURPOLARIS' post='696092' date='Dec 30 2009, 07:46 AM']Haha, yes I've been told before that the chord is B#, I think he might have meant C [/quote] He could have been right-depending on what key you were playing in.

A Jazz Bass is nothing to do with playing Jazz. It's a style of instrument which has two pickups, a narrower neck and different body shape than a 'Precision Bass'. These are the two predominant Bass guitar styles. Check out the differences here....... [url="http://www.fender.com/products/search.php?partno=0190662769"]http://www.fender.com/products/search.php?partno=0190662769[/url] [url="http://www.fender.com/products/search.php?partno=0190460700"]http://www.fender.com/products/search.php?partno=0190460700[/url] There isn't a great lot of diference between a 20 and 50 watt amp-both are cool for practising with and getting you started A 'strat' guitar is based on the Fender Stratocaster design.......... [url="http://www.fender.com/products/search.php?partno=0110402705"]http://www.fender.com/products/search.php?partno=0110402705[/url] A digital tuner is a devise that you plug into so that you can accurately tune your instrument to the correct pitch. The tuner will tell you what note you are playing,and if you are sharp or flat. Try out a bunch of different instruments to see which one you like- Squier's(by Fender) are always a good bet. Don't just get one from Argos-go to your local music shop and ask for some assistance.

Just as a quick aside-I get really annoyed when I'm busking a tune that i know and I'm told that its in say,E ,and so start playing in that key,only to find that it's not,but that E is the first chord. For example,if you are playing something simple like 'Autumn Leaves', and the guitarist calls it in C minor. So you play the first chord -F minor-,only to find that C minor was the first chord and not the key signature. It's actually in G minor. Sorry to slightly derail the thread slightly.

I think that everyone will have an influence towards their tone in some form or another. In the same way that everyone takes inspiration from certain players,they also take on the idea of how they would like to sound,be it solo,or in the mix. I initially wanted to get a sound that was similar to Jaco(hence why I usually solo the bridge pickup on a Jazz Bass),but with the slap tone of Marcus. It never happened,but in doing that I found a 'sound' that was-I think- unique to me. A lot of it has to do with technique-Marcus Miller always sounds like himself,regardless of his gear. It's good-even necessary-to try and sound like someone else in the beginning. The trick is to recognise the nuances that are unique to you.

[quote name='Myo' post='694991' date='Dec 28 2009, 05:43 PM']That song's all slap happy. from what I can remember he does things like triple pops, which do use three fingers but in a rakey, agressive kind of not very dextrous way. it's a different ball game really. I've been giving it a go with some things... i'm just gonna mess about and see how my playing style develops now that I can throw a third finger in if I can't manage something with two.[/quote] I'm pretty sure that 'Mellowship Slinky' is played fingerstyle

That's positively busy compared to Larry Graham's one note groove on 'Everyday People'. 8th note G's groove like never before.

[quote name='JTUK' post='693760' date='Dec 26 2009, 03:23 PM']For example, I can't recall any jobbing dep that I know that has perfect pitch, and these guys have very good busking and reading skills.[/quote] In those kind of situations-where I'm depping(often without charts)- I tend to look at it as a combination of a quick ear and theory knowledge. That was if you are busking you can kind of predict the changes in advance,and quickly change if you hear something different than expected. As far as the perfect pitch thing is concerned,I don't know anyone who has 'perfect' pitch,but I know alot of people who have good relative pitch. It's totally possible to develop a good ear and gain relative pitch,it just takes a bit of practice.

I don't know who played on that particular track,but his live bass player is a girl called Vivi Rama.

In the review of the Luna it also says it has 'two vintage P-style pickups' (I only saw one),and there is about 5 references to the bass having 18 frets. I counted 20 in the photos. Regardless....Paz is hot.

[quote name='XB26354' post='693071' date='Dec 24 2009, 04:59 PM']But that's the point - it's all down to what works for [i]you[/i]. It's not good general advice. I tried the Gary Willis 3 finger thing but couldn't get on with it, same with the non-rest stroke floating technique. The point is to look at making the right sound as efficiently and easily as possible so you can play freely for extended periods, regardless what traditional technique may be. 6-string (and above) are exceptional instruments because of the width of the plucking area. Logic dictates that you have to pay more attention to damping. I've seen and heard a number of 6-string bass players say they've got damping sorted and when it comes to the crunch and their playing is exposed, they haven't. I respect your point of view, but I trust my experiences with bass as a player, teacher and engineer in a studio more.[/quote] That's cool-I appreciate what you are saying. My only disagreement,was when you said that it was 'almost essential' to use the floating technique when playing a six string. I don't believe that it is essential to employ the floating thumb when playing on an extended range instrument. I have always used my thumb as a movable anchor,which allows me to totally dampen the lower strings with the side of my thumb, and I even use my little and ring fingers to damp strings on occassion,in a similar fashion to the way John Pattitucci does. I'm glad that you trust your own experiences-you have to-,but I also trust mine as both a professional player and teacher.

[quote name='XB26354' post='692459' date='Dec 23 2009, 05:29 PM']If you play 6 string it's almost essential to avoid the big old B rumbling whenever you play higher up on the neck [/quote] I disagree.. I've played a 6 string for years and never had to use the floating thumb technique to cure any ringing strings. As far as muting and damping technique goes-for me it is a combination of both hands. I explained it, basically,over on the 'string skipping and muting' thread.

[quote name='wotnwhy' post='692350' date='Dec 23 2009, 02:25 PM'] thought i was the only one that read vogue.. genuinely interested to know what made you come to this conclusion though. haven't seen any evidence myself.[/quote] The reason I said that it's fashionable at the minute,is because in the last 12-18 months there has been alot of talk of the technique on the various bass forums,and a bunch of lessons on how to use it. Kind of in the same way that Double Thumbing became fashionable when Wooten became popular,the floating thumb technique has become increasingly talked about since Todd Johnson became more high profile.

I don't think you can bring race into it. BSSM is a great album,and that no doubt helped the Chili's become majorly popular-especially the songs 'Give it Away' and 'Under the Bridge'. As cool as Fishbone and Living Color are,they haven't had any songs that have made it really big commercially-like the Chili's have. Coming from the same scene,bands like Primus,Mr. Bungle and the Limbomaniacs never gained the same kind of popularity as the Chili's either,despite making some great music,so I don't believe it's anything to do with colour.

I've tried the floating thumb technique,and although I can do it,it just does not feel comfortable to me. I've always used a movable anchor-with very little pressure on the thumb, and have never had any problems with ringing strings or anything. The floating thumb is kind of fashionable at the minute-and it's cool- but for me,I have not seen any advantages in using it.

I think the fact that they put Zender on the cover of the new issue negates any improvement there may have been.

I'd go for the Squier Bronco I think.

It was fully transcribed in Bass Player in December '96

I use two fingers for,like, 90% of the time, but can happily throw in a third if necessary-usually for something like semi-quaver triplets. Although I can play straight with three fingers it feels slightly awkward as each beat starts on a different finger. I also prefer to use my thumb and two fingers than use a standard ring,middle,index, plucking pattern. On the other hand,sometimes using one finger to play 8th notes gives a really good and consistent sound and attack.

[quote name='munkonthehill' post='691678' date='Dec 22 2009, 05:31 PM']thats my M.O too. just hate it when i rest my thumb on my stings and they touch the pickup hahaha, not a pleasant sound!!!!!!!!!![/quote] You don't need to apply a lot of pressure-if any- on the string when you are resting the thumb on it. If the string is touching the pickup poles,it sounds like you need to be a little lighter with your thumb- I've never had that problem.

As far as the pick is concerned,have you tried using a thumb pick? I use a couple of different techniques to mute the strings. When I'm ascending the strings I use a combination of basic rest strokes and using my thumb as a moveable anchor-as I move up a string my thumb follows on to the string below. So,if I am playing on the upper two strings,my thumb will be resting on the A string. I will also then be muting the E and B strings with my little and ring fingers,rather than tucking them into my hand. When I'm descending,I mute with my fretting hand-mostly with the index finger,which slightly touches the higher strings enough to mute them. If you are trying to mute the notes,but are getting 'pull off's' you may be releasing the string too much. You only have to release your finger pressure very slightly to mute the note that you're playing. When using a pick I use the same left hand technique when descending,and mute the strings with the side of my picking hand. String skipping,like everything else,is just really a matter of practice. Slowly try playing intervals of,say, 5th's,then octaves,then 10th's. When I say slow,I mean reeeaaallllyyy slow. Concentrate on playing the notes cleanly and accurately. Remember,Speed is a by-product of accuracy.

[quote name='munkonthehill' post='690992' date='Dec 21 2009, 08:59 PM']yeah that would make more sense having it in that position. but below the strings!!!!! how?????????????????????[/quote] Basically,the original idea for the 'thumb' rest was to hook your fingers underneath it and pluck the strings with your thumb at the end of the fingerboard. I've never needed to use a thumb rest-i use the my thumb as a moveable anchor, and rest it on either the pickup or on the strings.

[quote name='kennyrodg' post='690989' date='Dec 21 2009, 08:55 PM']Not quite stupidly easy but Donny Hathaway's Little ghetto boy is the one I get the most pleasure from. [/quote] Really? That is an awesome line.

[quote name='J3ster' post='689410' date='Dec 19 2009, 10:03 PM']I've always liked Mike Gordon of Phish.. For something different. Try the 'Picture of Nectar' from 92 Great album too[/quote] Massive +1 Phish rule and Mike Gordon plays some really nice stuff-especially on the live stuff.

I had a problem when I first played a 5 string for about 10 minutes,but it pretty soon became ok. I play the 4 and the 5(and 6) pretty much the same-I know the 'board well enough that I can play anywhere on the neck comfortably. I never view them as being seperate,and although I tend to gig mostly with a 5 string(at the moment),I don't have any trouble switching back to a 4. The neck width shouldn't really be that much of an issue if you have your technique together.