Doddy

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

I haven't heard anything about a Marcus and Sanborn touring together. I know that Sanborn is on tour at the minute-I think he was in London last week-and Marcus is on the SMV tour,so i'm pretty sure they aren't together.

I've been using a Genz Benz Neo-Pak head(the predecessor to the Shuttle 6.0)for a few years now and have never experienced any lack of low end. They are a very hi-fi sounding amp,which I happen to like. I was very close to buying a Little Mark II,but prefered the sound of the Genz Benz. It might be worth checking out Bergantino cabs as well-I prefered them to the Epifani,although they are great cabs too.

I've played cheaper that I thought were great and boutique basses that I didn't get on with. I love my Roscoe and my Tobias,but I still grab one of me Fenders for most gigs. The quality of instruments is generally very high now and price isn't always an indicator of quality- It's all a matter of what you want out of an instrument-and in some cases,what you want it to say on the headstock...some people feel more inspired if they are playing a more 'exclusive' brand.

I can't recommend Bergantino cabinets highly enough. I use the HS410 which is,quite frankly,awesome. The AE410 is way lighter but I prefer the sound of the HS410. They are both ace though.

For me,it really depends on the tune on what I like to hear behind my solo. If it's an uptempo number or straight eighth's feel I like the Drums to carry the groove as they were for everyone else without necessarily dropping in volume. Whereas on other tunes I like minimal accompaniment. It really depends how I'm feeling during a number.

[quote name='Doddy' post='527118' date='Jun 28 2009, 09:44 PM']I know that Tom Barney and Alex Al have worked with him over the last few years,so it could have been either of them.[/quote] I was right....just found out that it was Alex Al who was rehearsing for the O2 shows.

The new issue is the best one in ages. Janek,McBride,Marcus,Pearce,Sadowsky=good issue.

I know that Tom Barney and Alex Al have worked with him over the last few years,so it could have been either of them. Jonathan Moffett played drums on a couple of tours too.

[quote name='Pete Academy' post='524027' date='Jun 25 2009, 07:08 PM']I never really liked Phish and his band, Marillion.[/quote] Git!

After getting the new copy of Bass Player,I realised that I've never seen Mike Gordon mentioned on here. Is anyone else a fan of the awesome jam-band Phish?

[quote name='51m0n' post='522578' date='Jun 24 2009, 01:39 PM']There you go then, get down your local garage and do a mechanics short course [/quote] I realise you're joking,but seriously,you could be the best player around but if you can't get to the gig you won't get hired.......simple.

The Problem with most schools is that they view the electric bass as a guitar,and as such feel that a guitar teacher can do the job. As it happens,I don't know of any 'primarily,guitar teachers who do a good job of teaching bass. Unfortunately,many local education services cannot see this. It is not just with bass that this happens. I know of at least one percussion teacher who has started to teach saxophone in a school-as long as he stayed one lesson ahead of his students no one cared. Likewise I recently heard that the local schools music service was short of guitar teachers and was offering the job to violinists. Most school kids don't care if the teacher can play or not-it's just an excuse to get out of maths for half an hour. Those who want to learn usually seek out private lessons.