Doddy

I wouldn't advise running the set in a dark room. If you practice correctly,and use your ears,you should be fine when you hit the stage.

I always use roundwounds on my fretless. They eat the board up a bit more but i don't seem to get that great 'mwah' sound using flats.

1) How long have you been playing Bass Guitar/String Bass for or both? 14 years on Electric, 10 on Upright 2) If you don’t play string bass/bass guitar have you thought of doubling up on either to get more recognition as a bass player? It totally allowed me to get more work 3) Who are your favourite exponents of both string bass/bass guitar? Assuming you mean doublers- John Patitucci,Tom Kennedy,Christian McBride Stanley Clarke,Brian Bromberg,Chris Minh Doky,Conrad Korch..........there's loads 4) Do you think that both the bass guitar and string bass are important as bass instruments? Of course they are!! 5) What genres do you think are important for bass players to listen to? Everything!!!! 6) Do you think electric guitarists can learn to play bass guitar more than string bass? It's physically similar,so yes 7) Do you think bass can be used to solo as well as accompany other instruments? Yes of course it can-and has for centuries. 8) Do you think it is important to learn to sight read? Yes,Very. I don't know why people would not want to learn. 9) What do you think of bass guitars such as 5 string/6 string e.g. as being an add-on to the bass players role? They are great-they aren't an 'add on',more of an evolution. 10) What are your opinions on electric upright basses as a substitute for the string bass? Electric Uprights are great if you have a good one. Too many are just like big fretlesses. 11) What is the best amp to use for bass guitar or string bass? Depends......there are a ton of good amps out there. MarkBass,Roland,Polytone AER, Acoustic Image, Euphonic Audio,Aguilar,Walter Woods-all make good amps for doublers 12) What pickups for string bass are the best for capturing the natural tone of the instrument? Again it's all personal preference. I like the David Gage 'Realist', but Underwood and Fishman make popular pickups too.

There used to be something similar advertised in the back of Bass Player mag about 13 years ago-but without the added cost of Dominique Di Piazza's name.

Like I say in every cable thread..... I use Spectraflex cables all the time and have never had any problems-their patch cables are great.

I been using the same Spectraflex cable for about 5 years and not had a single problem-that's why I've got a load of them now.

Oh ok. Thanks-I'm not a massive Level 42 fan,so didn't know of that tune.

[quote name='iconic' post='689594' date='Dec 20 2009, 11:03 AM']I must be doing this combo wrong..... open E string with D sting + D sounds like a very 'sudden and worried' tone on my bass....if that makes the slightest sense ..........where would you drop you this into a riff?[/quote] It does sound like you are playing it wrong. If I'm reading you right,you are playing a low E,an open D and,an octave D. The chord that was mentioned is an E7,so you should be playing the notes E,G#,B,D. Let's leave out the B for now, and play the notes E,G# and D ------------13 ------------12 --------------- ------------0-- So you have the low E,the D on the 12th fret D of the D string,and G# on the 13th fret of the G string.

[quote name='JPS' post='689575' date='Dec 20 2009, 10:41 AM']I think some players also play a 3rd and a 7th (flattened) on the D and G strings (or a 7th and a 3rd) especially when using an open E or A string. For example an open E string with the D at the 12th fret on the D string and the G# on the 13th fret on the G string. Might also slide into the two higher notes from a fret below as well i.e. 11th and 12th fret into 12th and 13th fret.[/quote] You can only get with this if you're playing over a 7 chord (in this case E7). A double stop is basically two notes played together. I believe the term comes from playing stringed instruments-violin,double bass etc.-which have no frets and you are 'stopping' the strings from vibrating at it's full length-now more commonly known as 'fretting'.

[quote name='iconic' post='689213' date='Dec 19 2009, 05:01 PM']many thanks for the tip...that would be a real handy bit of software for Level 42 43![/quote] I'm confused by this bit? What do you mean by 'level 42 43'?

[quote name='robdeadstereo' post='689667' date='Dec 20 2009, 12:25 PM']thanks for the replies guys, i shoulda made it slightly clearer. im not at this stage looking to do it as a form of career, more as a side step to my normal stuff, more for small scale solo artists than professional outfits if that makes sense. all of your advice is appreciated... i best brush up on reading music[/quote] Even though you are thinking on a smaller scale,the same rules still apply. People are more likely to hire you for a recording if you can get the job done correctly and quickly.

My pedalboard cost more than my car-but I did get my car dead cheap If you're talking value I have a couple of instruments that cost about the same,so yeah,my whole collection is worth more than my car. Remember-it's all good to have great instruments and everything,but if your car sucks and is unreliable you won't get hired for gigs.

When you say 'sessions' I am assuming you mean studio sessions. In this case it's not as simple as going on a forum or anything. It's more a matter of meeting people and being invited in-that's the easy part. The hard part is being able to stay there.You need to have really quick ears for times when there are no charts,and be able to read well when there is. You need stylistic diversity-unless you are being hired as a specialist(which is rare),and be able to keep your ego in check,amongst other things. I'm guessing though that really you are just looking to play with people outside of your band-not sessions per se. In that case advertising yourself may work a bit initially,but a lot of the same applies- just without the extra pressure of the studio. I will always advocate reading to anyone,but you should also know a load of tunes so that you can jam with people and be able to busk.

[quote name='Pete Academy' post='688697' date='Dec 18 2009, 08:22 PM']You? Making shapes? [/quote] Oh yes......It's quite something

Depends on the gig and if I'm really into it at the time. Sometimes it's a simple knee lift or head bob-other times it can be full on making shapes.

[quote name='gnasher1993' post='688633' date='Dec 18 2009, 07:02 PM']I'd suggest a delay or some kind of modulation. Maybe the TC Electronics Nova Repeater[/quote] That's what I want

I've been using the Davis Gage Realist for years now and it's great.I sometimes go through an Aphex Bass Exciter aswell,but normally only when I'm doubling,just to give a little bit more control when going into one amp.

[quote name='skankdelvar' post='687228' date='Dec 17 2009, 12:27 PM']I therefore invite the tight-fisted, gap-toothed, faux-psychotic, fanboy-exploiting fret-masher to pack his cash-filled Hermes bags and shag off home to his adoring acolytes, thus avoiding the likelihood of having a tightly-rolled item of headwear rammed up his Sheriff's badge.[/quote] That's a bit harsh I don't think there's any need for that kind of personal attack.

I've not seen that pick up. Why don't you get in touch with Mo Clifton and ask him. He's a really nice bloke to deal with. [url="http://www.cliftonbasses.co.uk/"]http://www.cliftonbasses.co.uk/[/url]

The only time I have ever used a metronome during my practise is when I set it to click on 2 and 4 and play along. It kind of works as a substitute for a drummer. I've never practised anything like scales or reading with a metronome. I generally practise new exercises out of time,so that I can break everything down without worrying about the time. This is where I totally seperate practice with performing. I feel that it doesn't matter about making mistakes,or playing out of time when you are learning something new.The important thing,for me,is to work on these problems and fix them. I also don't try and play what I have recently learned on a gig. Eventually it will become part of my vocabulary and will come out in my playing,but I never try and force it.

It's known as the 'Romberg Bevel', and is to allow the E string to have more room to vibrate. It's kind of a throw back to the days of large gauge strings.

I do it,but unfortunately don't get a lot of calls for it. When I do I run my Macbook with Logic Mainstage with an M-Audio Oxygen Keyboard. I got into it after talking to Janek about how he was using synth bass on some gigs. I think it can be really cool and adds a different texture that you can't get on a bass guitar.

It doesn't bother me either way. It's a lot easier than swapping between electric and upright.

[quote name='4 Strings' post='685105' date='Dec 15 2009, 12:56 PM']Response from Tanglewood to my mail, asking of their origin: "Dear Greg, Thank you for your email. The basses are designed in the UK, the parts are sourced from Various countries and the basses are assembled in the Far East. They are given a further inspection before leaving our stores in Kent. Kind Regards,"[/quote] Really??? Look at the pics in this ebay link. It clearly has Greg Curbows Signature on the headstock and the Tanglewood name on the body. It's also made of Luthite and Ebanol-exactly like the Cort. [url="http://cgi.ebay.co.uk/TANGLEWOOD-CURBOW-BASS-GUITAR-HARD-FLIGHT-CASE_W0QQitemZ120484532783QQcategoryZ4713QQcmdZViewItem#ht_500wt_1182"]http://cgi.ebay.co.uk/TANGLEWOOD-CURBOW-BA...m#ht_500wt_1182[/url] Sounds to me like someone at Tanglewood either doesn't know much about the bass or really believes that the Canyon is an original design. I'm not trying to slag off Tanglewood-my first bass was an original 'Rebel'(not a 4k),it's great and I've still got it.