wishface

[quote name='Fat Rich' timestamp='1346834807' post='1793702'] Your thumb placements look OK, I actually aim to have my thumb pointing up towards the headstock playing all positions on the neck, it's a more relaxed position for your hands and puts less strain on your tendons IMO. Difficult to be sure from the pics but I reckon the action could probably go a little lower. Could you try a little test? Fret the E string at the first fret with your left hand, also fret it at the 24th fret with your right hand. What is the action like at the 12th fret? It should be around a millimetre, probably a bit less.... if it's still really high, or if the string is on the 12th fret that'll tell us the truss rod needs adjusting. [/quote] If those thumb placements were off then i'd have to get new hands because there's no other way my thumb will go! :DI tried the e string and it sits about a milimetre high if my eyesight is any judge. i could try lowering the action more but the saddle is already really low on the bridge anyway. I also think the E string sounds louder than the other strings. It just feels as if the E is on a different bass entirely really. I can't adequately explain it. The intonation is definitely out anyway: the 15th fret E and the open G should sound the same pitch but they are out.

Now that I have webcam fever here is a picture, as best i could take while holding the instrument, of how my left hand looks. I usually play sat down, for the reasons explained earlier. The instrument is also quite heavy for me. The notes fingered are separated by an octave on the D string, to be clear. [attachment=117533:thumb playing regular.jpg][attachment=117534:thumb playing high.jpg]

[quote name='Musky' timestamp='1346798235' post='1793524'] Is it like one of these? Looking around the Spector website it seems that they only did a few single pickup models. It should be a decent enough bass, just in need of a setup. [/quote] That looks about right, just a different colour (and less shiny ) [quote name='stingrayPete1977' timestamp='1346798455' post='1793525'] Where are you? [/quote] In the west country. [quote name='LukeFRC' timestamp='1346801906' post='1793553'] The intonation is out because it will need to be re set up when you change the strings- I can set up a £50 bass to intonate properly, your one is far higher quality than that. The Height of the E string also possibly needs altering. To a lesser extent the way you wind the strings onto the headstock can change the tension slightly. The relief of the neck is also important. As for the balance... how do you hold the bass? is your left hand thumb resting on the centre of the neck and when playing are both wrists relaxed and more or less straight? I think, if I were to guess, that you have a badly set up bass played with bad technique. a lesson with someone who can set your bass up and give some tips on playing may help [/quote]I lowered the strings recently (when I cleaned it all up to get back into practicing properly and changed the strings), they're as low as they are going to get sans fret buzz. Again it's the E that's problematic. I would like to try a lighter guage, just to see, but strings at the music shop in town (Bristol) are quite dear (i asked what his cheapest set was and he said £18). Not here to complain about being a pauper, that's just how it is. When I play my right hand is around the pickup as it anchors on it for playing the E. Sometimes I anchor on the end of the neck. I rarely play nearer the bridge. Both hands are relaxed, i have fortunately never suffered from wrist strain or the like. The neck is perhaps wider than I would now choose, but that isn't fixable. My left thumb doesn't come over and is centred. However when I move up the neck the thumb moves into a more horizontal position pointing toward the headstock and is further from the fretting fingers because that's the only way my fingers can access the neck at that height. I can't really see how anyone could play otherwise unless they had a very unusual shaped hand! I'm not sure how to display this.

[attachment=117530:headstock.jpg][attachment=117531:bass body.jpg][attachment=117532:bridge.jpg] Here is the best i can manage with a ropey old webcam I borrowed. Anyone that can identify the instrument from this deserves a medal.

[quote name='Schnozzalee' timestamp='1346790685' post='1793396'] Could you post a picture of the bass? One of the Spector guys should be able to identify it for you and then a trip to Harmony Central/google should reveal any design issues. I began on a Warwick Rockbass which should? be a similar shape and I had no issues other than I couldn't slap it - don't know to this day if it was my technique or the instrument (there's been others i've had that didn't work for slap but it's not my style anyway so not matter!!). [/quote] I'd love to own a warwick. They always look really good and the sound people like TM Stevens get (never mind his style) is awesome. Same for Jack Bruce. I knew a guy that had a Wal, it was a heavy bass. If I can find a camera of some kind I'll try and take a picture, but I'm the only person alive that doesn't own a mobile phone.

[quote name='lowdowner' timestamp='1346790732' post='1793397'] Mark - at bassdirect - told me that once I got bored or Warwick and was looking for a 'real' bass I should go back to him and try a spector (or a roscoe funnily enough). I still think the bass brand is - largely - immaterial - compared to ability [/quote] The brand might well be, I'm not criticising Spector at all, but this instrument isn't a particularly super duper bass. It's quite possible that Spector make cheap basses aimed at beginners as well as high end instruments.

[quote name='TheGreek' timestamp='1346790493' post='1793393'] A new set of strings can sometimes make a hell of a lot of difference....it'll give you a chance to clean the bass - the neck and fretboard in particular. Also look for a luthier (or BCer) nearby who can look to set the bass up for you so that it's easier to play, with a lower action and to make sure the intonation is right. You might also want to learn some new riffs - get a feel going rather than just playing the notes. Lastly question why you are learning to play...if you're committed to it then you just need to keep at it..learning to play is full of "Eureka moments" - it will come if you persist.. [/quote] I did all that recently. I didn't have much choice over what strings to buy since the price of bass strings rockets each time I replace them. I think the intonation went (only a little) years ago when I first replaced the strings. I don't know why since that's all I did. I have never monkeyed around with majkor adjustments, just replacing strings and lowering the action. I use a medium guage set. It's just the E string feels 'out'. I don't know if it's normal for it to feel hard to play at the 12th fret, but that string in particular feels high and heavy at that point so there's a lot of noise when I try to play. Of course I practice to try and compensate for that, but I would like to know if that's something that shouldn't be there.I don't know any luthiers, and I can't be paying people I haven't got any money. I live in the west country.

[quote name='stingrayPete1977' timestamp='1346789776' post='1793370'] I never had Spectors down as cheap? trade it for a Squier Jazz bass on here and be done with ya! [/quote] Is that better? I don't know.I am not familiar with Spector as a make. But it has the Spector logo and name, but that's all. It's got a single EMG pickup and the body is a light orangey caramel colour. The shape is a regular shape, goes up to about 24 frets. Sound is ok, but it doesn't have any of the flashy features, just a tone and volume pot. It's a bassic bass.

I don't own a very good instrument, unfortunately. At least that's how it feels. It's made by Spector, but i couldn't tell you waht the model is (it has no number and i've long forgotten). It was cheap. The problem I have specifically is that the bass feels 'wrong' when I wear it. It's as if the weight is off centre. Playing around and above the 12th fret is uncomfortable as a result. it doesn't matter whether I have it high or low (usually high because it's uncomfortable to play when slung low anyway). The neck feels a bit too wide, and although I've lowered the action considerably (it was never that high) the E string (4 string) feels heavy and high on the neck, exacerbating the 12th fret issue. In fact it's really the E string that's problematic. The intonation, high, isn't great, but that's to be expected with cheap instruments. The reason I post this isn't to have a moan; there's nothing I can do about it anyway I certainly can't afford a better instrument and liklely never will. But it's to try and get some feedback on those problems. I would love to know whether my performance and development are limited by me or the instrument (or both). At least if I knew those sorts of issues were solely the purview of cheap instruments that would be a help. Conversely if I knew I had a rock solid instrument I would know that whatever problems I have as a player were thigns I could work on and practice. If that makes any sense.

[quote name='steve-bbb' timestamp='1346523970' post='1790288'] actually imho the only exception i can think of to his outstanding playing (not sure of the reasons behind it but i suspect they may be very complex) but the playing on ian hunters all american alien boy is rather average as far as jaco performances go [/quote] Would it be better if he played solos and crazy jazz licks?

[quote name='Coilte' timestamp='1346177692' post='1786190'] The Internet is a big vast place, so naturally you are going to get varied views and opinions. As has been said on numerous occasions it is up to each individual to take on board any information given, then use or omit, according to what works for them, or what the music requires etc. If you think that SA is the best way, then by all means, stick with it. [/quote] I'm not sure I do. Both techniques have their place, same with rest and free strokes. Developing all of this could take your entire practice time alone! So much stuff.SA is great for certain situations, as I said, and it's probably the best way to practice because it, IMO, should eliminate bias toward one finger over the other. But yes in certain situations that ecnomy of motion (and energy) is key.

This is interesting; advice taken from other discussions has led me to focus solely on SA. I still rake for the reasons you mention, but the belief was that SA, once mastered, would be better. However that seems an incredibly lofty goal. Even Jaco raked (if that means anything, I listen more to masters such as Jah Wobble than JP).

[quote name='Coilte' timestamp='1346156203' post='1785860'] +1. It all depends on what the music requires. If SA is not required in a given piece of music, I dont see much point in applying it, unless you see it as a "rule". We are supposed to be playing [b]music [/b]after all. [/quote] I understand, but practicing SA seemed the best way of doing things given that there are certain situations where raking isn't the best answer, and developing equal strength/independence in both fingers (assuming standard 2 finger playing) is vital. Isn't it?

You would need to alternate however when skipping strings (perhaps doing runs from Gstring to A string, or octaves).

do you rake or use strict alternation?

increasing incrementally is what I do, in steps of 5. If there's a better way of doing things, I certainly want to hear it

The goal isn't to settle for sloppy playing, when i practice i aim to finger the notes correctly and sound them correctly, but if i reach a tempo I struggle with I don't just call a halt to the practice because that seems counter productive. Instead I give it a try at that tempo to exercise my fingers (and of course my mind). Same as physical exercise, if you can do 10 reps you try and push 11. My problem is I have no one to spote me! The metronome is there to mark time as a measure to pace against. If that makes any sense.

Lately when I practice with said device I start at between 75-80bpm playing, for example a scale. What I do is (try to) play whole notes, half notes, triplets and quarter notes. Once i run through the exercise a couple of times at each, or as best I can, I increase the tempo to about 100bpm. This takes enough time to fill a good 30-45 minutes of practice. Anything more would tire my arm out. Is this a good wasy to use a metronome? The purpose of these exercises is to build up speed and dexterity while playing melodic exercises (ie scales). Is this the right way to do this? If not what should I do.

The way that john pattituci mutes is the way jaco does and my hand doesn't bend that way. You need big hands to make that technique work without compromising the movement of your plucking fingers.

both seem equally valid techniques; the problem i have is right hand muting. Free stroke playing especially doesn't lend itself to this. I find i'm starting to float the thumb around when i play on the 4 th string, but i'm still not convinced about floating thumb playing. Again, with free stroke, it feels unwieldy, lacking that anchor. Perhaps that's just lack of experience (and shoulder muscle!)

[quote name='clarket2' timestamp='1345917838' post='1783172'] Yeah sounds like we mean the same. Yeah its that "tickling" that always gets to me just because you don't get the definition and power that you get from a rest stroke. Yeah try keeping your thumb on the string below (even going up to the d) as I found.it.keeps.my hand more relaxed [/quote] But with the thumb trailing like that you have the problem of muting with the right hand, which is the problem in the first place with free stroke playing (at least for me). I'm very familiar with playing either technique, but when i play faster i tend towards free strokes.

[quote name='Doddy' timestamp='1345918888' post='1783192'] Just out of interest,I use rest strokes nearly all the time when playing fingerstyle and I've never had a problem with speed. [/quote] do you play fast?

A free stroke, at least for me, is smaller than a rest stroke because the latter has to come to rest on the string above. It's that level of movement that makes them slower; when i practice free strokes, the movement is smaller. It's almost like tickling the string, there's less contact, but the hand is more arched off the body, hence the muting problem.

Do you really get a much less solid stroke? I'm not sure that's true. It's a different tonal quality. I rest my thumb all over the place. Depends what string i'm playing, usuallty i rest on the string behind, most of the time it's the a or e, and the pickup for playing on the e. Nothing too clever.

I think Myung gets away with it because he uses 3 fingers. Not sure that's what I want to do; it'll take a long time to learn that. But his tone is dire; thin and flappy.