Doddy

[quote name='stoker' timestamp='1360331514' post='1968754'] Looking mostly at the BOD-1 overdrive and the BCH-1 chorus. [/quote] For overdrive,I think that these are much better http://www.thomann.de/gb/harley_benton_ultimate_drive.htm (OCD copy) http://www.thomann.de/gb/harley_benton_vintage_overdrive.htm (Tubescreamer copy) For chorus,try this http://www.thomann.de/gb/harley_benton_classic_chorus.htm I can't say much about Marshall pedals-I only had the VibraTrem and thought it was awful.

[quote name='Evil Undead' timestamp='1360331138' post='1968741'] Yeah, but with decent speakers built in. Maybe a 1x8 underneath it or something, like a roland cube but better. an iCube haha [/quote] So,more like this [url="http://www.alesis.com/transactivelive"]http://www.alesis.com/transactivelive[/url] There are a couple of amps like this in that range.

Rush. I went through a phase where I bought a load of stuff,but only liked a few songs per album....and the more I listen to Neil Peart,the less I like him. Red Hot Chili Peppers used to be great,but the totally jumped the shark with 'By The Way' and never recovered,as far as I'm concerned. Up to and including 'Californication' has some great stuff though. That's about it really.I might not listen to a band for a while,then I'll get back in to them again a few years later.

[quote name='BigRedX' timestamp='1360329066' post='1968682'] The one thing I've not been able to nail in 35+ years of playing is to be able to play everything while not looking at what my hands are doing. I get so far and then I either have to look or I find that I'm a fret sharp or flat. People go on about muscle memory, but I just don't seem to have it. I have a sneaking suspicion that it is another symptom of the condition that most obviously manifests itself as dyslexia... [/quote] Everyone looks at their hands at one time or another. If you are familiar with your bass you can get a feel for the neck and where you are,but everyone looks where they are at times especially if they need to make big jumps.

It depends....are you talking about hitting the wall in tbe long or short term? If it's short term, like in one practice session, I find it best to put the bass down for a bit and come back to the exercise later.Maybe, just play a couple or tunes or jam for a bit before tackling it again, but definitely step away from the instrument for an hour or three. I don't like to just plough through-not for technical reasons, but because it's easy for your head to get fried, so you need to just step back and chill for a bit. Long term, hitting the wall usually comes from being complacent and/or not knowing what to practice. It's easy to get comfortable with what you like playing and what you need for your band and you stop pushing yourself. Lessons will help here-they will give you things to work on. If you can't already, learn to read. Grab a Real Book and learn melodies or walk over the changes. Have a go at Slap technique. Play chord tones/scales all over the finger board in different positions and inversions.Study harmony. There are just some examples of how to get out of a rut, the truth is that there will always be something that you can't do that you can work on.

I can only really say what I use....I don't use much chorus,but when I do I like the old DOD Ice Box. For Delay,I really like the TC Electronic Nova Repeater.

I think that Zawinul's synths were alright for the most part until around 'Mr Gone'-I think that album was a little to synth heavy anyway. I don't know if I'd say it was cheesy though.I think it got better again around 'Domino Theory'. The thing with using technology is that there will nearly always be a point where it sounds 'dated'.Be it synth sounds or Simmons drums or whatever. To me though,I've never really found it a problem-it's just where things were at the time,and many modern pieces of equipment still try to replicate these sounds.

I'd try them anyway. I don't own any, but I've tried quite a few, and they good pedals. Don't worry about the name, just give them a listen.

[quote name='EssentialTension' timestamp='1360264649' post='1967819'] [/quote] One reason not to....'Stranger on the Shore' OK-2....Acker Bilk

Thanks

[quote name='Antiloco' timestamp='1360217910' post='1966767'] Doddy: I rest my case. The op wanted an easy, practical explanation over what could be played over one chord. I think I was clear enough on my first post. [/quote] So was I.

I double on Electric and Upright (and treble on synth) all with my Ashdown MiBass 550 and Mi12 cab. It sounds great.

[quote name='Antiloco' timestamp='1360186599' post='1966492'] Well it works for Holdsworth, it works for Henderson, it works for Corea and it certainly works for me. You obviously have to listen when you improvise and play over chords. Scales are just note pools, big families to chose notes (members) from. You have to study a lot to know what members will sound best under what circumstances. [/quote] Are you now talking about soloing or comping? If you are comping and you are playing modally over the changes,chances are that you are going to get some pretty strange looks from the band leader or soloist.You need to be aware of the actual chords rather than just the key. When you are soloing,you have more freedom to play that way,but even then you should still be aware of the changes. If you are soloing over a one or two chord vamp,you can play very modally and even play 'out' as long as you resolve it somewhere. [quote name='Roland Rock' timestamp='1360188240' post='1966545'] If so, I think you and Doddy talking about different things (Antiloco talking about playing modes over a single chord, and Doddy talking about playing over the various chords in the song) and are both right :-) [/quote] Yeah,I'm talking about comping over changes-I assume that is what the OP is talking about. [quote name='Antiloco' timestamp='1360188993' post='1966568'] Thats right mate all I am saying is that all the possible choices over one chord are going to have something in common: They are the same notes whatever the name of the scale or arpeggio you use. It's just a question of emphasis. [/quote] Yes they are the same notes,but it's about the context in which they are used. Take a simple tune like 'Red Baron' or 'Oye Como Va'-both are ii-V's in the key of G ( Amin7-D7). Even though the key signature will be written as G major (one #),if you are highlighting the G major scale(the I chord),it sounds 'out'.It works better,initially, if you base it off the actual chords or,if you want to go modal, A Dorian and D Mixolydian.It doesn't sound like it wants to resolve to the I chord. Same notes,different context.

[quote name='Antiloco' timestamp='1360164125' post='1965951'] Hi there mate. Thats not a stupid question at all. I will try to put it as simple as possible because I remember having the same confusion. The scales to use over C major will mostly be scales with notes common to that totality. Any scale with the same notes as a C major (Ionian) will be usable as long as you're not looking for more tension in which case lots of other scales may be used. The more notes you have that doesn't belong to C Ionian the more tense its going to sound. Example: Over C Ionian you could use d Dorian because they are the same notes. You could also use A minor pentatonic or the arpeggio of say F major 7... Just because they all have the same notes as in C Ionian. In the end is just a matter if emphasis. It won't sound the same when you play say B locrian over C major. Not because the notes are different but because your thinking will be different. Please ask away, there's nothing wrong in seeking help. Getting stuck in your development is much worse. [/quote] You've got to be very careful about moving into modal territory though. As Bilbo and myself mentioned,often the harmony isn't diatonic to the key-Blues being a simple example.In these case keeping to the major modes of the home key is not particularly going to work. A lot of songs aren't really suited to modal playing,so just because a piece is in whatever key, doesn't mean that the notes of that scale will work. That's why working on chord tones will be a big advantage and,in many cases,will work better than scalar playing.

Take a look at the chord tones rather than the scale. For example, lets say chords went C, Dm, Em. They are all diatonic (in key) to C major, but it would make more sense to play the strong tones than just play notes in the C major scale. So, with this example the chord tones (I, III, V) will be C(C, E, G), Dm (D, F, A) and Em (E, G, . Now, if you take a blues in C the chords will be C7, F7, G7 (I7,IV7, V7). In this example you couldn't just use notes from the C major scale because certain notes won't work with the chords -C7 (C, E, G, Bb), F7 (F, A, C, Eb) G7 (G, B, D, F)- so it would be better to approch it using the individual chord tones rather than try to blanket them with the C major scale. Later you can start adding scale tones as passing tones, but then we are starting to go slightly modal, but for now chord tones are where it's at.

I'd certainly contact the shop if you are not happy. I had a bass from Electro Music in the late '90s and the hard case arrived with a big dent and crack in it (the bass was fine). A phoned them up,and the next morning a courier turned up with a new case and took the old one back-Brilliant. Having said that,if it had been a cheapish gigbag I wouldn't have bothered-depends what it is. If the saddle screw is easy enough to put back (it should be) and the rest of the bass is fine and you're happy with it,then I wouldn't worry about it.

I really like the Guyatone Phase Shifter. I've got an old DOD phaser that's really good too. If you want something different,take a look at the Pigtronix Envelope Phaser. Great pedal.

Yeah some of them are really good...they are just rebranded Joyo pedals (the same as Rocktronics). The Ultimate Drive is a very good clone of an OCD-in fact,there has been a lot of scandal regarding a couple of companies apparently rehousing them and selling them for a couple of hundred dollars.

All my cruise work is through Proship....they supply to most of the big cruise lines. I've never had any hassle with them.

I see you're in Stoke. *cough* Come to me for a lesson *cough* Seriously,most Blues,at it's core,is pretty simple and the basslines are usually based on walking through chord tones.

I never use a hardcase anymore, but I always take the strap off the basses when it goes in a case.Actually, the only time the straps are attatched is when they are being played. Everything else is kept in a couple of cases.

[quote name='andydye' timestamp='1359890596' post='1961528'] We have a samsung galaxy tablet that I'm thinking of using for charts...any idea whether those apps are available on android too? [/quote] I just use Adobe Reader for my Galaxy. All the charts are in PDF form so it's easy.

One band that I regularly work with are totally on tablets now for all the charts. Ignoring programs like iReal,which is great,all the charts are in pdf format and emailed to the band. We've got a huge amount of tunes in the set (some charted,some not) but none of us have to carry a pad anymore,which saves a lot of weight when travelling. Also any new charts can either be emailed or transferred straight to the tablet,saving the hassle of the MD printing a ton of pages. It's great.

He's totally credible as a musician in his own right now.I'm sure his name may have helped somewhat to begin with, but he's past that point now. I saw him a couple of years ago in Southport and he was really good.He plays great electric and upright. His last two albums have been ace too.

I'm not envious of other players, but I have a slight envy of the guys that can just grab a piece of manuscript paper and write out full arrangements as though it's nothing. I can write and arrange but nowhere near like that.