Doddy

I love Pigtronix pedals. I've got the Polysaturator and the Envelope Phaser and they are both killer pedals.

I've got to be honest,but I don't particularly like the Stagg electric upright....mainly because of the sound. I'd prefer to look for a proper upright.....you can get a decent enough model for under £500.... A friend of mine has a beautiful $12,000 Juzek,but prefers the feel and tone of his $500 Chinese bass. Electric uprights are great but unless you are willing to spend quite a lot of money,they are no substitue for an acoustic bass. It is not uncommon for players of electric upright to not be able to last for one tune on an acoustic,due to the physical differences.

[quote name='seashell' timestamp='1332354997' post='1587259'] [*]grade 8 exams plus a music degree (not saying you'd have to have all that, but some theoretical training would be pretty crucial I'd say) [/quote] I'll be honest about this point....I know a ton of players and teachers with degree's and grades who I consider to be pretty poor. I think it's more important to find a teacher who knows this stuff and is out there doing it. Experience,for me,wins over certificates. For me,I would discount any teacher who uses tablature predominantly and who bases the lessons around teaching songs.There is nothing wrong with interspersing songs in the lessons and using them to reinforce examples,but not as the primary focus.I'd expect a teacher to be able to read and write music.....there is no point teaching something and not being able to write it down,as chances are that the student will have forgotten it by the time they get home and you will have forgotten it by the next lesson. I'd also expect the teacher to know some theory-not necessarily the more advanced stuff(although that helps) but at the very least major/minor scales,pentatonics and maybe some basic modal scales, and a knowledge of chord tones. There are also the intangibles like personality and how you conduct the lessons.Are you able to convey the information clearly and patiently?

My favourite ones are Comfort Strapp. I find that they take quite a bit of weight off your shoulder and can comfortably play all night with one. I do like the look of the Gruv Gear 'Damian Erskine' double strap though.

Looks like Guild Jetstar to me.

I thought from the title that this was going to be about learning to read. It's great that you're finally learning to use your ear...it's amazing,to me,that you've been playing for 4 years and been relying heavily on tablature rather than learning songs by ear. Now that you've started to move away from tablature,I'd seriously recommend learning how to read music.

You say you're a 'newbie'...how long have you been playing? The thing with playing a consistent semi quaver pattern is to really focus on the alternation of your picking fingers.There are a lot of players,myself included,that favour a particular finger(particularly when string crossing)and it can makes things tougher when playing at higher tempos. Spend some time concentrating on how your picking hand is working-it's easy to not bother about it after a while and concentrate more on the fretting hand,but it's worth revisiting often.Also,try not to pluck the strings too hard.If you lighten up a little,it can help increase your speed. You don't need to use a metronome either-play the line at a comfortable tempo for you,or better yet,a little slower and just play without worrying about the exact speed.Just make sure it's clean and accurate. Speed will naturally develop the more you play. You asked if you should be getting it....that really depends on what level your at now,and how you're playing. It's certainly a cool bassline,but personally I don't think it's particularly difficult harmonically,and the tempo is fine-I can comfortably play semi quavers all day at higher tempos than this. But that's just me,and where I am right now. When I was still relatively new to the instrument a line like this was a challenge. It really comes down to how often you play,and how and what you practice as to whether or nor you should be 'getting it'.

[quote name='longtimefred' timestamp='1331030863' post='1566439'] do it! dont worry about the size of the stuff. I can fit my whole rig in the boot of my car. All valve and none of this little tiny lightweight crap! you know it makes sense. [/quote] Someone doesn't gig 4-5 nights a week The Ashdown Little Bastard was mentioned earlier...they've just brought out the new LB550.I've not tried it yet,but I'm guessing it'll sound like the LB but way louder. It might be worth looking at a Hybrid head too.

I'd go the practice amp route. You can get an Ashdown TourBus 10 for around £50-60.

[quote name='EssentialTension' timestamp='1332112591' post='1583587'] Because to my ear, it is very soul-less. [/quote] Whereas to me it sounds great and the band are feeling it

[quote name='EssentialTension' timestamp='1332112052' post='1583574'] Strange. [/quote] Why,exactly,is that strange?

[quote name='EssentialTension' timestamp='1332111589' post='1583562'] So, do you think it has soul? [/quote] Yes.

I'm guessing it's because the puppeteers are right handed,therefor their dominant hand will be the fretting hand of a left handed puppet(assuming that both puppet and puppeteer are facing the audience) as the fretting hand generally moves more it made it easier for the muppets to be left handed.

At least you were told the chords just before.

I don't get them either. I've tried to get into Zeppelin,but it just doesn't do anything for me.....and I really don't understand the Bonham worshipping at all. Same thing with Sabbath. I won't turn them off if they're on the radio,but I'd never go out of my way to listen to them.

Great. The only way that I think it could be better is if Poogie was on drums.

There is no comparison between the MiBass and the Little Giant. I shied away from Ashdown for years and was never a massive fan of their amps,although I really liked the Spyder and their valve amps like the Little Bastard and the VBA......but when I tried the MiBass I was blown away by the sound and versatility of it.

[quote name='Matte_black' timestamp='1332091280' post='1583067'] . The Ashdown doesn't look too small but I'd certainly like the fact the eq. is so flexible. Deciding which frequency boost/cut is very good! [/quote] It is a really small amp....similar to everything else. The EQ is great,but it has a really good flat sound. I've had more compliments on my 'sound' since using the MiBass than I have for ages.... I never had any negative comments before,mind you.

I use the Ashdown MiBass and love it.I was using the Genz Benz Neo Pak (the predecessor to the Shuttle) which is great,but I prefer the Ashdown. In fact,I preferred it to all the small heads (and a lot Of large heads)I tried....and I prefer the Genz to the Mark Bass stuff.

Off the top of my head..... 'Never Too Much' by Luther Vandross (Marcus Miller) 'Forget Me Nots' by Patrice Rushen ('Ready' Freddie Washington) 'Thank You (falettinme be mice elf agin) 'by Sly and the Family Stone (Larry Graham) 'Hair' by Graham Central Station (Larry Graham) 'If that's your Boyfriend' by Me'shell N'degeocello (Me'shell) If you do feel like some more technical stuff tunes you could try some Marcus..... 'Run for Cover' by David Sanborn,'Rio Funk' by Lee Ritenour,'Power' or 'Panther' from Marcus' solo albums. 'Lopsy Lu','School Days' and 'Silly Putty' by Stanley Clarke are great. If you did want some Victor Wooten,you can do a lot worse than 'Sinister Minister' by Bela Fleck and the Flecktones.

I've been using Thomastik Spirocore for years now and really like them. I find that they're great for Jazz and also very nice for playing arco too. I don't slap much on gigs but when I do,they work. A friend of mine recently recommended Pirastro strings to me,I cant remember which set though(it was either the Obligato or Oliv). I might have to try them out though.

[quote name='Faithless' timestamp='1331977511' post='1581575'] Doddy, why would you need to have a passive DI box - does that make much difference for sound-techs between active DI and this? (sorry I aint much of a tech) [/quote] The only reason I have a passive DI is because it's easy to use,it works and doesn't need a battery/power.That's all. The Sadowsky is a great,but as I usually use active instrument I generally I don't need the extra EQ of the preamp so it's just easier to use the passive DI...I use the Sadowsky more with passive instruments or when I'm not using an amp. Although to be honest,most times I just use the DI in my amp

If it helps,the first part of the line in a simple E Dorian scale.

[quote name='jakebeamish' timestamp='1331937851' post='1581333'] a ghost note like this: d___(d) [with the underscores as a tie) could just be notating the tie properly. (d) can imply a note that isn't plucked, but tapped with the fretting hand. It could also be a harmonic. [/quote] I've never seen a tied note be bracketed-on all the charts I've ever been given,you'll just see the two notes and a tie marking. In most bass/guitar specific transcription books,tapped notes are usually written with a cross above the note head,while a harmonic i notated by a diamond shaped note rather than the usual oval shape.

[quote name='louisthebass' timestamp='1331931683' post='1581243'] I always thought the bracketed notes were grace notes where you slide into the main note? [/quote] A grace note is usually written as a smaller note leading into the main note,like this....