Doddy

[quote name='BigRedX' timestamp='1330003647' post='1551186'] But without song writers musicians like yourself would have nothing to play. Also I know that should I live that long, I'll still be earning money from my song writing long after my back has given out and my hands are too arthritic to play my guitar. [/quote] True..... But,I personally know waaaaay more people that earn a living from playing than I do from songwriting.Even guys who have written big hits have to play (or take other jobs),to make a living.

I'm not sure about exact dimensions,but the cover for a Precision is wider and 'squarer' than the one for a Jazz.

Hey.I got back last weekend.

[quote name='BigRedX' timestamp='1330001626' post='1551106'] This. If you want to make a long-term living out of music. Song writing ability is far more important than technical chops. [/quote] Tell that to any of the thousands of guys who have made a good long term living from music without being a songwriter.In those cases,technical ability and general musical knowledge is far more important. Likewise,there are thousands of people who write songs of varying quality and have never been able to make a living from it.

35 actually

Alternatively,you can buy some manuscript paper and a pen. You may not be able to hear it played back to you,but it's great to be able to write down what you want rather than having to fire up the computer. I use Sibelius aswell,but I use manuscript paper a lot more.

Exactly. For any show I would expect to be given the pad...usually at the first rehearsal. After all,it's not like a regular pop or rock gig.

I agree with players being weaker on one over the other...I love Chritian McBride,but I don't find his electric playing as good as his Upright work,especially when compared to doublers like Patitucci or Bromberg. Upright is definitely an instrument that you have to love because it takes a lot of time and work,but I think it's worth the effort. I also think that for a lot of modern music the ability to double on synth bass is becoming more and more important. Having said that,why not treble on all three?

I've recently taken my Roscoe LG3500 with me over 2 short haul flights (Manchester to Heathrow,with BMI) and 2 Transatlantic flights (Heathrow to LAX,with Virgin). I turned up with my gigbag slung over my shoulder, and had absolutely no problems at all.On 3 of the flights my Bass went into the overhead locker,and on the other the stewardess asked if I would like to be kept in the first class closet. I've had people question me at the check in desk on previous occasions,but this time there was no hassle whatsoever.

Effects that I think are essential? None. Effects that I think are useful? Lots. I can happily and easily gig with no effects at all and regularly do. Even when I take my board to a gig I may never step on a thing. Like I've said many times before,I like having effects as options.I'd hate to be asked to use something specific,or hear a sound in my head,and not be able to get it.

I had a Bespeco volume pedal about 13/14 years ago (it was one of my first pedals),and it did the job if you wanted to go from off to on,but anything in between was pretty much useless. It didn't have much of a sweep and only seemed to do anything in extreme positions. There was also a noticeable volume drop between having it in the chain and not. In fairness they do the job if you just want to mute your signal for a minute,but otherwise you're better off buying a decent one instead.

I still think that the best way of learning scales is via a combination of learning the fingerboard and learning what notes are in what scale. If you know what notes are in,say,a D major scale and where those notes are on the fingerboard,it is easy to play it over the entire range of the instrument.And,let's be honest,it's not particularly difficult either.

I never understand why some people refuse to use open strings.I use them all the time,especially when I'm reading,because it allows me to play in position with fewer shifts.

That's a really cool concert...I've had a copy of it for years. Larry Graham is really cool,but I personally prefer Rhonda Smith on the 'Live at the Aladdin'.No disrespect to Larry,I just think that Rhonda works better in Prince's band.

I've been using the MiBass alot lately and I don't think there is any problem with 'weight' in the low end. I find that it has got a ton of low end yet still has definition so that every note is clear and not 'wooly'.

It's easy to rely on the music,and to be honest I don't think it's a problem if you have charts on stage. However,I find that if I want to move away from the charts I just go 'bareback' and don't bother setting my stand up or getting the charts out. That way you've got no choice but to just play it and get it right.

I've used an Ernie Ball for a few years now. They aren't particularly cheap but they are really solid and have a good sweep,which is something I find is lacking in many cheaper pedals. The Visual Volume and the Dunlop volume pedal are good too.

It's certainly not a requirement to double on Upright bass...there are plenty of great players who don't. But,I don't think it can hurt to double on both instruments.There are a number of gigs around that require doubling,and by doing both you open yourself up to being offered them.Of course,you may not have any interest in those gigs,so that might be a moot point.

Cheers guys. Funnily enough,it's not a huge reading gig for me,because I'm going on as part of a 'guest band'. There are full charts for some of the stuff,like the big band style set,but for the most part it's just knowing literally hundreds of tunes. Anyway,it'll be ace to spend most of the winter somewhere nice.

I've broken loads in the past...usually E or A strings but a couple of B's. It's been about a year since I last broke one though. I pluck the strings quite hard,so that is a big part of why I break them. Although,since I've been using in ear monitors I've lightened up a bit.

[quote name='Coilte' timestamp='1320505136' post='1427676'] Well, he has certainly had his arse kicked...albiet not on the bandstand. [/quote] But the problem is that from the safety of his bedroom he can,and has,developed an attitude where he can start mouthing off to people and saying that he is actually dead good. You can't do this when you are on a gig...I don't mean a gig with your mates for your mates-I mean a gig with players who have been around the block who expect you to do the job and if you screw up badly you won't get called again. Believe me,your attitude changes very quickly when you are having your arse kicked on stage.

[quote name='Chris2112' timestamp='1320478194' post='1427306']This little turd would be better off just putting the bass down. [/quote] Not really...he'd just be better off turning the camera off and practice more. This video kind of highlights my biggest problem with Youtube.....there is no sh*t filter. It's far to easy for anyone to post a video of them playing or a 'lesson' or whatever that doesn't need to be seen because it's so bad. What this kid and plenty of other Youtube players need is to get away from the safety of their computer and go and get their arse kicked on the bandstand.

A quick google search shows that the Marcus Bass is now £1366 rrp,with a load of shops selling them for around £1,036. So you can see why people are asking around £750 secondhand. The US made five string is now well over 2 grand. It makes me glad that I bought mine a few years ago when they were still a pretty good price-mine was just under £700 brand new.

I've got a set in my main Jazz Bass. When coupled with the Sadowsky pre amp,it sounds great.

I've had a Peavey double gig bag for years. It's a decent enough bag but some of the stitching came away within a couple of weeks,it's still a perfectly functional bag though.