Doddy

[quote name='Stylon Pilson' post='620633' date='Oct 8 2009, 03:10 PM']Yeah, but you're endorsed by them. And as far as I can see, there's no way to buy them - there's not even any way to find out how much they cost - without emailing the guy who owns the company. S.P.[/quote] Yes I am endorsed by them. You can get them from Bass Direct.

iGig cases are awesome. Best cases I've used by a mile.

In all fairness,why didn't you get the money before sending the bass? As it is you've just given him a nice little gift.

It's not a Will Lee signature model ,but it is the same spec as the Sadowskys that Will has been using for years. That's probably where the confusion lies.

Yeah he does.

I like red instruments-either solid colour or stained so you can still see the wood. Natural wood is nice too.

As I lie here watching the new Steve Vai DVD I thought it was about time to give some overdue respect to Bryan Beller. The guy is an absolute monster of a player. Check out his work with Mike Keneally and his two solo albums-just brilliant. Plus,he's a hell of a nice guy.

Regardless of the problem-which may be due to grounding issues-it is worth buying some decent quality cables. I heartily recommend Spectraflex Cables

Bergantino HS 410. Best cab I've played played through by miles.

Even by making a riff you are still exercising your fingers. As long as you initially take it steady it will have the same results as playing warm-up's. As long as you don't pick the Bass up and run blazing semi quavers first thing,you shouldn't have any problems. Even taking it easy on the first tune will warm you up.

I usually run a few scales in various intervals (3rd's,6th's etc.), a few octaves, some chords up the neck. Really just playing over the entire board and crossing strings.

I actually have to agree with Willis on this one. On a Fretted instrument,you are generally never going to be totally in tune over the whole of the fingerboard-hence innovations like the Buzz Feiten system. And because you have quite a large area in which to place your finger,certain notes will always be out of tune with no room for adjustment. On a lined fretless,because the lines are where the frets would be,if you play precisely on the line you should notice this 'out of tune-ness',more so than on a fretted instrument,only now by rolling your finger slightly above or behind the line,you are able to more accurately play the note in tune. You shouldn't take the lines for granted. Playing a fretless requires more attention with the ear than a fretted does. The lines can be a handy guide to the area of the note,but they can never be the exact note. You need to be able to hear how much you need to adjust to keep in tune.

I teach in the middle of Stoke if you are interested-it's only a half hour from Sandbach.

[quote name='ezbass' post='616262' date='Oct 4 2009, 09:48 AM']Don't get me wrong I like solo bass players, but it's often their more "band" type compositions that I always come back to; Stanley Clarke's School Days and Rock & Roll Jelly for instance, or Victor's You Can't Hold Groove.[/quote] That's funny....U Can't hold no Groove is all solo bass I like Flea,but he's a hell of a long way from being a favourite of mine. I like Wooten-in fact he is a favourite of mine. The problem with these kinds of arguments,is that everyone will support their favourite band. If you like the Chilis, you will defend Flea,and if you don't,you won't. It's all relative. If you prefer the music of,in this case,the Chili's over the Flecktones then chances are you will defend Flea as being a better player than Wooten. Likewise,I have spoken to non bassists who will claim that Flea is the best bass player in the world purely because of his high visability within the rock genre. There is a tendancy to view players as being 'Great' or 'Better' due to their popularity. More people are aware of Flea than they are of,say,Will Lee but does that make him a better player? No,it makes him popular because of his band. I can totally understand why people will gravitate to Flea's playing,but it is very easy to look beyond it if they so wish,and are willing to leave their comfort zone and try to embrace a new genre without prejudice.

You sold out when you started a tribute band I'll get me coat.

[quote name='JPS' post='614779' date='Oct 2 2009, 01:33 PM']Sound advice Bilbo! Not the most interesting song to play even for a beginner. Personally I can't wait to play some of that proper jazz like Jamie Cullum, or Jools Holland.[/quote] Sarcasm right?

Think of the money. Works for me.

I do it when I'm soloing. Sometimes quietly,other times quite loudly.

Will Lee

For soloing,learning melodies is a great starting point. Singing ideas and then playing them is another great way,as you will sing ideas that are better than what you would naturally play. Eventually you should be able to do this simultaneously-that's what people talk about when they say 'play what you sing'. Falling back on arpeggios isn't a bad thing. You just have to know them inside out and be able to play them in any inversion. As far as playing the strong tones when walking-again it is a matter of knowing the arpeggios and scales so well that you know how the changes relate to each other in regards to the notes they share. If you know how all the notes and chords relate to each other you will be able to play smoother lines without sounding like you are 'jumping' from chord to chord.

[quote name='Pete Academy' post='612759' date='Sep 30 2009, 08:54 AM']We were booked to play The Point and it closed about 2 weeks before. Now we are booked for The Globe in a couple of weeks and it's due to close. I see a pattern emerging. [/quote] Jinx.

About an hour and half before leaving home I load the car,then shower and things. Before going on stage,I usually go for a quick contingency p!$s-if i need it or not.

I don't do drugs,so that doesn't affect me. I've done one gig tipsy-not steaming-ages ago and thought that I played crap. Never done it since.

Click the banner at the top of the page...all the info is there. But to be more helpful.... November 22nd at the Royal Northern College of Music

Take a bar of 4/4 1 2 3 4 Then divide it into 8th notes 1 & 2 & 3 & 4 & The '&' is the 'off beat' as it is off the beat. The 'Back beat' is the notes played on beats 2 and 4, usually by the snare drum.