Doddy

[quote name='Truckstop' timestamp='1355091587' post='1893997'] I agree, but I dont want to pay two singers!! But on the other hand, a higher quality band will get more work. [/quote] Or...get them both to learn the set,so that you've got a solid dep.

I suppose if you are looking at everything as being in key,diatonically,then you could look at C as always being the tonic chord (which it would be),but if you're viewing them as scales then the note won't have a set name-it will depend on it's position in the scale...so it would be- I- Tonic II- Supertonic III- Mediant IV-Subdominant V- Dominant VI- Submediant VII -Subtonic

I like CD's because I can listen to them in the car.

Try playing anything on electric bass that requires a bow.It's just not happening. You're also not going to get that slap sound out of an electric bass. [quote name='dood' timestamp='1355007026' post='1892998'] Finally, feel i think comes from the player, not the instrument and thus, as my old IT colleagues would say, SISO* [/quote] While I agree for the most part,I also think there is a certain feel on that you can get on the Upright that you can't get on electric,and vice versa that isn't just down to the player. The whole physical size of the Upright gives the notes a certain shape in the attack that isn't the same as an electric and gives it a different feel.I believe this is what people are referencing when they say things like the electric 'doesn't swing'. It's not that the player isn't swinging,it's just that the timbre is very different and it does feel different.

[quote name='Tait' timestamp='1355058666' post='1893413'] Is there a name for the tonic on the ionian mode? So for example, lets say we're playing the major scale modes, and I'm playing D-Dorian, or E-Phrygian, or F-Lydian etc. Is there a specific name for the C? [/quote] I'm slightly confused at what you're asking to be honest. Do you mean what is the name for the C note within any of those specific modes? If so,not really. In D Dorian the C will be the supertonic of that scale. In E Phrygian,C will be the submediant of that scale etc.

[quote name='risingson' timestamp='1354977013' post='1892535'] It's my favourite Donnie Hathaway track! I heard a while back that it's largely overdubbed, but what a bass line. [/quote] I don't know about that,but the album is recorded over a couple of nights,and there appears to be a splice towards the end.

Weeks' line on that tune was transcribed in Bass Player magazine a couple of years ago. It's a great bassline. The whole Donny Hathaway Live album is just killer.

[quote name='bubinga5' timestamp='1354843699' post='1891270'] i have to say his double stop slide at 2.03 is a nice touch.. [/quote] That's in the original part too

[quote name='bubinga5' timestamp='1354837439' post='1891219'] ... hes letting people know hes got some chops.... [/quote] He's really not

[quote name='risingson' timestamp='1354837397' post='1891218'] The big one doesn't do that on bass either [/quote] Mine does. Of course,it's not as accurate as playing the strings individually but it still works with all my basses.

The thing is,Bobby Watson's line on 'Rock With You' is already pretty busy. This guy is just taking it that bit too far and not really grooving with it. To be honest,I just don't see the point in what he's doing.

Very cool. Just as a matter of interest...it's not his new line up,it's from '08. His current band is Alex Han(Sax), Adam Agati(Guitar) Louis Cato(Drums),Kris Bowers (Keys) and Lee Hogans (Trumpet). I still think his band is at it's best when Poogie is on drums though.

[quote name='Rick's Fine '52' timestamp='1354718124' post='1889510'] Damping has never been a problem because my technique is so good, i don't use my palm, thats for amateurs. [/quote] I really hope that's a joke. There are lots of players with good/great technique who still palm mute (Marcus Miller and Anthony Jackson to name just two)-it's certainly not an amateur thing. With regards to the covers,I haven't got around to putting one on any of my Precisions but I have them over the front pickup on a couple of my Jazz Basses. I don't find them a problem-I can rest my thumb on them if I want,although most of the time it's resting on the strings.

[quote name='BigRedX' timestamp='1354821246' post='1890930'] If I was an endorsee important enough to get my own signature amp that had been developed to meet my bass guitar needs and I had as distinctive a sound as JJB, I'd be mightily disappointed to turn up to a gig to find that the company I was giving my backing to, had failed to supply the correct equipment to allow me to get my signature sound. [/quote] As was stated earlier,he actually uses the ABM series.He did before he had a signature amp,and he still does now-so he has actually been supplied the correct gear. I think you'd be more disappointed if you either had to carry all your own rig (logistically,it would be a nightmare) or if you were supplied with completely the wrong gear.

I agree with 'In Cold Sweat'-it's great. I know you said you're not keen on Jazz,but I think you'll struggle to find a better Autobiography than Miles Davis'. Frank Zappa's is good too.

I did a multi band gig once where I was to use the supplied back line and I was the only person using an Upright. At soundcheck I plugged into the amp (an Ashdown ABM head and 4x10 cab), and the soundman came running over and started to play with all the controls before telling me that a Double Bass would blow up the amp because it puts out too much low end!!! It didn't help that I'd been talking to one of the guys from Ashdown a couple of days earlier and was told that I would have no problems using the Upright through their amps. Anyway,I told him to leave it alone and let me sort it,which he grudgingly did,and I got a great sound out of it. I don't know why,but there are quite a few soundmen who panic when they see a Double Bass being brought in.

[quote name='MiltyG565' timestamp='1354750125' post='1890106'] I didn't, i asked for £120, because the extra £50 was parts only, and didn't include any actual work done at all, so i thought £120 was quite conservative and realistic given what the bass was. [/quote] You specifically didn't...but there are a lot of adverts that do. (I was using 'you' as a general term)

[quote name='MiltyG565' timestamp='1354735257' post='1889856'] What is wrong with that? I bought a bass for £80, did £50 worth of work and upgrades to it, and just wanted to get my £80 back out of it. I think getting your money back out of an item is the least you should hope for. [/quote] But don't tell people how much you paid. If you want £80,say you want £80...don't say 'I paid £80 and want to get that back'.That's a sure way to get a lowball offer.

[quote name='uncle psychosis' timestamp='1354730719' post='1889753'] See, this kind of thing grinds my gears far more than someone trying to haggle a price. If its "only a two minute job to fix" or "its missing part $Y but you can get one on eBay for a few quid..." then major alarm bells start going in my head as a buyer. If a seller can't be bothered to spend the "few minutes" to fix whatever the supposed "minor" issue is, or won't spend a couple of pounds to replace a missing part on a bass worth hundreds then I start to have major doubts as to whether or not I want to deal with them. [/quote] I once sold an inexpensive bass that needed a 'simple' fix (electronics),but I don't know what the hell I'm doing with all that stuff so I sold it cheaper and stated that it needed looking at. The guy that bought it was happy with that. It's not about not being bothered,it's more about me not knowing what I'm doing in that regard. As far as haggling on the price goes,I don't see a problem. If I think the price is good to start with,I may buy it outright,otherwise I will always try to strike a deal-especially if the item has been for sale for a while.I do it in music shops too. The thing that annoys me is when someone states in an ad how much they paid for it and they want to get that back. That is a sure way for me to offer a lower price.

As was stated earlier,he does actually use the ABM so there is no problem there. With regards to getting the specific amps,I think a big part of it is availability in specific locales. Not every specific thing is available in every country.It doesn't lessen the endorsement in any way...JJ's rider probably just specified Ashdown ABM series amplifiers. It's not a big deal-the company has supplied the required equipment.He's still playing the through the amplifiers that he endorses and being given support by Ashdown It would have been a bigger issue if he was given SWR or something. I've seen loads of players on all instruments use different gear than their regular rig,but they have all been supplied by the company they endorse (eg Marcus Miller using an SWR Redhead rather than his signature preamp).

I've never really been a huge fan of Stingrays,but if I could get one for anywhere close to what I paid for my Warwick Streamer I'd get one. Pete...I'll give you £500 for your natural Pre EB It's a really nice bass

[quote name='KingBollock' timestamp='1354661312' post='1888961'] When people knock picks I often think that they probably aren't aware just how flexible they really are, they are far from a one trick pony. Some Bass players seem unaware that you can use alternate picking and sweep picking. I've even come across Bass players who think that you can't string skip with a pick! [/quote] I think that the reason think that picks are one trick ponies is because they are often the preference of 'failed guitarists' or 'only instrument left to find in the band' players,many of whom just play quaver root notes or double the guitar line. Don't get me wrong,there are some great players who use picks-Anthony Jackson,Carol Kaye,Joe Osborne, Bobby Vega,Steve Swallow,to name a few-but there are far more that don't have the facility of these guys. I've got no problem using a pick and I always carry some with me,but it's not my preference.

You can alter the pitch of recordings on programs like 'Transcribe'...I'm sure there are others too. It makes more sense to alter the recording pitch and learn that than to mess around with the bass. Just out of interest,why are you re tuning after every song? If you play a song in a different key than the recording,learn it in the required key as well as the original. Transposing is a very important skill.

[quote name='Dingus' timestamp='1354622369' post='1888145'] +1 on this . The biggest benefit for internationally touring musicians with amp endorsements is that the deal will usually provide a touring rig in different territories ie. Europe , USA , Australia ect . It is usually the responsibility of the brand distributor in that country to provide equipment for touring endorsees . [/quote] This. The rig (and everything else) will probably have been supplied by either the local distributor or a rental company (Like John Henry in the UK or SIR in the US),and it's a lot easier to get hold of the ABM than it is to get the JJ signature amp.It would be a nightmare to tour worldwide with all that gear.

[quote name='RockfordStone' timestamp='1354644249' post='1888666'] this would be a great idea, i don't feel there is enough contribution from the regular player. could be interesting to have someone from the normal world rather than someone from some institute with a scholarship [/quote] I think it depends on who you think is a 'regular player'? A professional,working player who gigs all the time but is not necessarily 'big time',or a semi-pro or amateur player who gigs occasionally?