Doddy

It is a great letter.... The best thing in the new issue.
The latest BP is the really lame.

I can't see how Jaquo III-X can argue with the facts that were stated in the thread.
The Driver of the tour bus was in the wrong and the police fined them. It's not difficult is it?

Oh wait,it is,because obviously SMV are famous and were stopped because the police wanted money-Jaquo III-X said so. Let's be honest
the Spanish police probably didn't give a crap who was on the bus,they were just doing their job.

I believe that it's a Yamaha Silent Bass,and I'm guessing that it's being played by
Chris Minh Doky-who is ace.

Why not take lines that you play with your fingers and play them with the thumb instead?
Too many people view slapping as a style of itself,when in actual fact it is just another way of
hitting the string.
If you approach the technique in this fashion you will be able to construct lines without the confines
of alternating octave thumps and plucks.
Don't let your plucking hand dictate what notes you play.

Brilliantly!
Check out Keith Horne for some awesome upside down slap.

They were-I think-only about 27 issues between 03-07.
I found the mag to be a bit too Rock orientated at times,and I really hated the fact that
all the transcriptions were in tablature with no notation.Other than that it certainly had its moments.

My favourite Envelope filter is the Emma DiscumBOBulator. They're about £120.
The EHX Micro Q tron is decent and about half that price.

[quote name='tombboy' post='546411' date='Jul 21 2009, 01:35 PM']He used to use Stingrays but he wanted a signature model and EB said "No. We don't do signature models"...... apart from the Steve Morse, the Albert Lee, the John Petrucci, the Steve Lukather..... the (erm) Ali Bongo. [/quote]

But they don't make signature basses. They don't need to-the Stingray sells itself.

Yeah it's a Modulus Fleabass.

Does anyone remember that bass before Flea used it and was
known as the Sonic Hammer?

[quote name='Faithless' post='546096' date='Jul 21 2009, 10:26 AM']Heavy sh1t, bubinga..

I just love Christian - saw him about a year ago with McLaughin and Korea - he was bangin' his black fretted Pedulla 5 - beasty thing, and there was some beasty groove... Monster player.[/quote]

I thought McBride played a Pensa? He's an awesome player.

They stopped making it two years ago-the last issue was
July 07 with Geddy Lee on the cover.
Shame really-it wasn't the best bass mag,but they had a few good articles-I've got every issue.

I mic my rig and have my bass slightly louder than everything else in my in-ears.
That way I can hear myself comfortably and find that I don't have to hit the strings as hard as I'm not
fighting a volume war with the guitars. The bass sound is also exactly how I want it to sound as I use a mic rather than
a DI.
Using in-ear monitors has made life so much easier for me on stage as I can get a good consistent stage sound on
every gig.

I've had a couple of Schallers go come loose mid-gig so They are not my favourites. I much prefer
the Dunlop straplocks.
As for cables I'll always recommend Spectraflex. (see sig)

That's great that is Spartacus. I'm glad the store guy stood his ground.

On another note,I once went into a music shop in Birmingham that I'd been to a number of times,
and was denied access to the guitar department upstairs because I was wearing a full length jacket.
I didn't quite understand this as they had no problem with me checking out the acoustics or the drums.
And,this was only 18 months ago,so I wasn't a young scallywag. I went somewhere else and spent money instead.

I go into Academy of Sound pretty(very)often,but still ask before trying anything out. I actually get annoyed
at the people who come into the shop and proceed to play 'Rock beat number 1' on the electric kits for ages while
their mates hang around and get in the way. This happens in most music shops lately,and it can take the enjoyment
out of gear hunting.
Pete's comment about the 'commission factor' is true aswell-I don't like when a salesman tries to feed me a load of bull,
when I know full well that they are wrong. That's another reason I shop in AoS-I never get fed any cr*p and I know that
Pete knows what he's talking about.

[quote name='Pete Academy' post='543363' date='Jul 17 2009, 04:34 PM']Ooh that's bad. Defo wasn't me...I couldn't sleep for the guilt.

I once heard of a guy charging someone eight quid for changing the top E string on a guitar.[/quote]

The moral of the story being......learn to re-string your own instrument.

[quote name='Pete Academy' post='542595' date='Jul 16 2009, 08:57 PM']I have to say, the younger kids treat our store like a youth club on Saturday afternoons. It's SO frustrating. Yes I know they're all the buyers of the future, but at this point they think it's a toy shop, not a music shop.[/quote]

That's one of the reasons why I rarely come in on a Saturday, to be honest. I don't get why a group of kids would go into a
music shop en masse and just hang about. Why don't they go back outside bargain booze,where they belong.

When I'm palm muting I generally use my thumb and two fingers to pluck-with the thumb usually playing the lower strings-it is
,i think,very similar to using Banjo technique(Scruggs style). Its all just a matter of practice. I've often play in a similar way without
palm muting as I find it quite comfortable now.
Check out some videos of Janek Gwizdala-he plays that way quite a bit.

Summertime

||: Am7/// |Am7/E7/ |Am7/// | Am7/// |
Dm7/// |F9/// |B7/// |E7/// |
Am7/// |Am7/E7/ |Am7/// |D9/G7/ |
Cmaj7/Am7/ |Bm7/E7/ |Am7/// |Bm7/E7/ :||

Have you just learned the 'shapes' or do you understand how the scales and modes 'work'?
Try moving them over the fingerboard using different positions and fingerings rather than sticking to one 'shape'-this is so much easier if
you know the notes involved. Once you can do that fluidly,try expanding them over two octaves. After a while you will become comfortable playing
over the whole instrument rather than being hindered by using well rehearsed 'shapes'.

Of course image is important. Most people's first impression of a band that they go to see is based on a visual representation. If I'm playing in a
club I want people to notice that I'm in the Band when I walk in-not in an arrogant way,but in a way that makes me stand out as being not
an audience member. If you wear the same T shirt and Jeans combo as you were wearing to mow the lawn earlier,you could be just about
anyone.But,if you are wearing a cool shirt or a suit or hat or whatever,people will notice you and your band,and you will have made a good
first impression.
You need to take pride in your playing and convey the image that is expected of you as a performer-if the gig requires a dinner jacket and bow tie
it will be in my suit bag ready to go-if it requires all black to blend in,thats fine too.Even if its a T-shirt and Jeans gig,make them different from
what's been worn all day.

[quote name='Pete Academy' post='540627' date='Jul 14 2009, 07:29 PM']We do get some 'interesting' versions of certain songs. Saying that, I've become rather desensitised over the years. The things that really annoy me are:

People that take up half an hour of your time and then say, 'Thanks, I'll go and have a look online and see what price I can get this at. Makes my blood BOIL!!!

People that come in and ask for your advice, then say, 'Right, I'll come back next week with my Uncle Jeff, who's a guitar player. He plays a bit of bass, though, so he'll know what we need.'

People that blame equipment when the real reason is lack of technique. 'This bass really buzzes.' OR 'There's not much volume in this amp.' when they sit there and tickle the strings.

And so on...[/quote]

I'm not that bad am I?

Great player. His album 'Pocket Fulla Nasty' is dead good.
He gets a really nice sound out of his Pedulla.

[quote name='jakesbass' post='537411' date='Jul 10 2009, 06:45 PM']When practicing sight reading avoid the tempatation to stop and replay mistakes as this makes for disjointed playing, it's better (at first) to plough on through ignoring mistakes but getting to the end of the piece in time, after a few goes the errors will be ironed out.[/quote]

I disagree with the method of just ploughing through.
If you do make a mistake it is always better to stop and break it down slowly and practice out of time until you can play it correctly. That way the next time you see that particular note or rhythm or whatever you will know exactly what to play.
It doesn't matter how long it takes you to read one note or rhythm when you are in the practice room,the only time you need to play through
correctly without stopping and in time is on the bandstand.

So slap bass is frowned upon, "save for its prominence in the TV show 'Seinfeld'." ?

Two things i feel the need to point out there-
1-Slap is only ever frowned upon by people who can't do it,those who don't like Level 42 and magazines who try too hard to be cool.
Audiences still generally find it entertaining.
2-The 'Seinfeld' theme was played on Keyboard.

NME.........no musical education