Doddy

I've got an UltraBass 1200 knocking around. I bought it because I needed a small amp quickly and it was the right money at the time. It did the job well and was very similar to the Hartke Kickbacks. I used it with both electric and upright and never had any problems-I did quite a lot of gigs with it with no problems.I don't use it anymore though. On the other hand,I've heard guys use the UltraBass head with the 4x10 and sound awful...in fact,one of my former students paired the Behringer 4x10 with an Ampeg B series head and blew the cab in a couple of weeks.

[quote name='witterth' timestamp='1351524124' post='1852134'] No, no, no, there is a question of "degree" involved here Mr Doddy, if its the lofty heights of Pino Palladino interpreting John Entwistle lines then there is a point to be made about "my version". but come on, local covers band down the "Dog and Duck" ? just play it right otherwise its just an annoyance. [/quote] Local covers band down the pub are generally the most likely to be playing it 'in their own way'-how many times do you hear a band play a pop 'hit' in a rock style (which I usually think is horrible)? Ignoring that though,it is still possible to play a song right without playing it exactly.

I don't think the difference between 34" and 35" is really a big deal,the biggest factor for me is the size of the body. My Roscoe LG3500 is a 35" scale,and it feels really long because the body is small. My Shuker Singlecut is also 35" but the larger body makes it feel a bit more comfortable. In the same way, my Warwick feels longer than my Fender because of the body size but they are both 34". I've also got a couple of short scale basses (30" and 32") and they are alright,but generally I prefer 34" or 35".

Interestingly,I've spoken to a number of people on all instruments who claim to play exactly what's on the recording and they never do. Personally,it depends on a few things-if you want me to learn a whole set in a few day it's going to be close but not exact,but all the important bits will be there.If you want it to be specific,write it out. If I'm playing a regular gig,it might start out being spot on but it will generally evolve over time,but again,the important stuff will still be there. It's not about not being arsed to learn things properly-more that everyone has their own 'thing'.Darryl Jones plays differently than Bill Wyman. Sean Hurley plays differently than Pino Palladino.'Ready' Freddie plays differently than Chuck Rainey. Neil Jason plays differently to Will Lee.Brian Ray plays differently than Paul McCartney. They might be playing the same songs,but there are always going to be differences in the ways that they approach and play their parts.

It looks to me that he's just put Geddy's name in the listing because it's of a similar vintage. He doesn't actually say that the bass was owned by Geddy.

[quote name='BigRedX' timestamp='1351173733' post='1848231'] Just reading the latest issue available in the UK (Marcus Miller cover) and has anyone else noticed that the description of the bass in the Retro-rama section doesn't appear to match the photos? [/quote] I hadn't read that bit...but yeah,the text is about the Hofner Artist and the photos are of the Hofner Club.

[quote name='miles'tone' timestamp='1350998244' post='1845996'] Marcus is indeed on the latest cover, just saw it in Smiths. Had a flick, put it back. Advert, advert,advert...... [/quote] I know he is...I've got it. But when the question was asked,that issue hadn't been released over here yet-the Bryan Beller issue was the one on the shelves. I think the last couple of issues have been good. Bryan Beller last month,Marcus this month (and an interview with Justin Meldal Johnson)....Steve Bailey is on the cover of the next issue-great. Edit...Yep,the spelling mistake was the 'o' was missing from The Aristocrats. The editorial in the Marcus issue is basically a big apology for the error.

[quote name='SisterAbdullahX' timestamp='1351030509' post='1846550'] Yeah, I agree! One of the things that really put me off the MIJ MM's is the way the Fender logo looks like it was applied by a blind man in the dark. I've seen some where it is under the string tree leaving a massive expanse of bare wood underneath it. How did they allow them to go out like that? [/quote] Take a look at Marcus' bass...especially the picture on the back of the 'Tales' album. The Fender logo on his is high up and slightly under the string tree.That's probably why it's like that on the Marcus signatures,and shows that it's not really a Japanese problem,because Fender were obviously doing that (possibly in error?) in '77.

[quote name='fatback' timestamp='1351001508' post='1846053'] OK, but what about fingering and positions? Do you readers normally analyse first? [/quote] If I'm on a reading gig,I very rarely analyse anything first because often there is only enough time for a quick glance through. With regards to fingering and position,I play whatever is easiest and comfortable as long as the note is right.As long as you know where the notes are all over the fingerboard there's no problem. [quote name='fatback' timestamp='1351001508' post='1846053'] Is there anything less pleasant than trying to read those dots? [/quote] Piles.

[quote name='BassTractor' timestamp='1350949737' post='1845584'] Don't wanna be a negative force on BC, but would it be too much asked for you to tell the rest of us what that object is? best. bert [/quote] It's a strap isn't it?

[quote name='LukeFRC' timestamp='1350911953' post='1844935'] err.... you know fender invented the original right? [/quote] Well....they they/he invented the original Fender at least.

[quote name='Big_Stu' timestamp='1350944568' post='1845537'] Though I say credit to the OP for filling the breakage gap with a jam; I've seen bands flap around panicing, go to the bar for a drink, tell the audience to talk among themselves, or have a row (+ flounce) as to why he didn't bring a spare guitar. [/quote] I've got to be honest,I really don't like that. A lot of bands seem to play some kind of lame funk-esque type jam in those situations,and often it's horrible. Surely you can continue a set without doing this,especially as there is another guitar player? It doesn't take long to change a string. Back on topic....Of course people notice the bass player. The ones who don't get noticed are the ones who believe that they shouldn't be noticed and try to hide at the back.

I'm not a fan of Thunderbirds in any way,however the Mike Lull T-Bird is killer. Ric's aren't my favourites either-they look cool enough,but I don't like playing them. Pointy basses in general I find horrible. I generally like Ibanez basses,but I wish they'd stop making signature basses with stupid graphics and inlays (That big K5 inlay ruins an otherwise nice bass.)

I've used the David Gage realist for years,as have most of the people I know,and it's always worked and sounded great,especially if you run it through some form of preamp-which I would recommend,whatever you choose,especially as you are going direct.

Like everyone else says,give it a rest and let it heal. If you'd got a gig,I'd probably say just play with 3 fingers,but as it's a rehearsal you'd be better off cancelling it and resting your hand.

[quote name='Dr M' timestamp='1350917878' post='1845033'] The Squire CV 50s P has the classic non-split single coil, single-ply scratchplate, chrome control plate and tele headstock. I think it might have a contoured body though. Still, a lot closer than many without the custom-shop pricetag! [/quote] But the slab bodied Precisions like Entwistle used weren't that '51-'57 style.They were like the more modern Precision design with the split pickup and larger headstock,only they had a non contoured,slab body. I believe they were a very limited run for the UK market around '66.

[quote name='LawrenceH' timestamp='1350930021' post='1845234'] What about the issue that electric bass isn't a 'classical' instrument (and has very little in the way of established solo repertoire)? Drums have a lot of formal military stuff at its foundation, guitar has a strong classical/Spansh tradition, but e-bass started as either guitarists, or jazzers coming from upright. [/quote] True,but there are many guitar and drum teachers who don't teach,or know,this background-I know about so many 'teachers' who base all of their lessons around songs,Tablature and 'play and copy',and don't have any understanding about of these basic musical concepts.

[quote name='arthurhenry' timestamp='1350927534' post='1845185'] Esperanza and Tal? [/quote] Not really know to most beginners though are they? Most of the 'bass heroes' are players who you will probably find out about after you start playing. There aren't many (if any) high profile players that are familiar to people who have yet to start.

[quote name='RhysP' timestamp='1350910239' post='1844892'] Money is a serious issue for a hell of a lot of families these days and music lessons aren't cheap when you add them to everything else kids expect to have paid for them these days. [/quote] True,but drum,piano and guitar teachers seem to be continuing to get students,even if the numbers are decreasing slightly.

[quote name='JeSuisSkeleton' timestamp='1350906142' post='1844808'] Hard to say really, but I see something like this: [url="http://rpmedia.ask.com/ts?u=/wikipedia/commons/thumb/8/8e/Beamed_notes.svg/105px-Beamed_notes.svg.png"]http://rpmedia.ask.c...d_notes.svg.png[/url] and can't see where the beat falls, or where any of the notes fit. Obviously that image has no context but any group of three notes that combines quavers, semiquavers, dots and whatnot I always read as triplets, and get stuck with that. [/quote] If you take that example,you can sit and work it out,so that when you see it again you will recognise it. If you break it down-let's assume that the quaver is on 1, the dotted quaver will then be on the '&' and last for the equivalent of 3 semiquavers ('&a,2),and the last semiquaver will land on the 'e' of 2. The next note,therefor, will start on the '&' of 2. Even by working it out slowly like this,you will learn how to recognise those type of patterns so that it will become familiar. Incidentally,I usually see rhythms like that where the first quaver is not beamed to the dotted/semi-which I think is also easier to read.

[quote name='Captain Rumble' timestamp='1350853612' post='1844387'] Lot of guys talk about hum problems cany say that i have experienced this at all I would have thought it was just a shielding problem ? [/quote] Most single coil pickups,like on a Jazz,will hum if one is favoured over the other. When both are on full they act as a humbucker because of the way they are wired. Pickups like the Ultra Jazz have two coils that act as a humbucker, so you can favour one pickup and not have the hum.

[quote name='TRBboy' timestamp='1350849737' post='1844306'] Edit: you can wire them up to a mini toggle switch for series/parallel switching too! [/quote] I did that with mine,only as a push pull pot,rather than a toggle switch. I really like the DiMarzio Ultra Jazz-they really improved the sound of my Jazz.

[quote name='bluejay' timestamp='1350841319' post='1844125'] BUT - if the double bass is audible as part of the band, without being amplified, why should an acoustic with nice, bright-sounding phosphor bronze strings be less audible? (Real question, as I don't play in a band.) [/quote] The body size of an acoustic bass guitar isn't really big enough to project the sound of the bass.Look at the size of a Double Bass,there is a big difference and it affects the volume and tone. Look at an acoustic bass guitar like the old Ernie Ball Earthwood-it had a huge body,but would be able to project the sound better than the vast majority of acoustic basses. In straight up acoustic settings,an acoustic bass guitar is generally useless.

[quote name='JeSuisSkeleton' timestamp='1350832537' post='1843972'] Beyond the basic ideas, I'm a bit stuck for how to actually go about this. For the reading I suppose I could just get any old score and try and play through it, but I always get stuck on dotted rhythms, and the classic 1e+ a 2e etc. or sub-dividing the bars doesn't do any good. Like I said above, it just goes fuzzy so I don't know how to get around this. [/quote] Why doesn't the counting method help you for reading dotted rhythms? For example,for a basic dotted quaver/semiquaver rhythm you will be playing 1(e+)a,2(e+)a..etc. Just take it steady while you are reading and learning them.

I got a phone call this morning from a friend of mine asking if I'd dep with his band at a birthday party over in Derby tonight.He'd been told by the bandleader that the gig was worth £150,great.....He phoned me back about 10 mins later telling me to not waste my time-turns out the £150 was for the whole band. He was really pissed off about the situation-take away expenses and the gig is worth about £30.Not cool.