TKenrick

Just out of interest, have you changed the tuners on the NXT? I found that mine couldn't cope with real double bass strings and I had to get a set of hipshots.

These are taking up space in my flat and they never get much use so free to a good home. Collection from London NW10 preferred or can meet in central London. All pots/switches have recently been cleaned so these are both crackle free! [s]Peavey Microbass - Logo missing but otherwise works perfectly well. Great little practice amp with plenty of volume.[/s] [attachment=197726:IMG_2365.jpg] Peavey Rage 158 Guitar Amp - excellent condition, has overdrive channel and aux in/headphone out. [attachment=197725:IMG_2366.jpg]

[quote name='CamdenRob' timestamp='1436336656' post='2817099'] I tend not to do this when I'm playing / improvising as I find using open strings means I'm using different fingering and it can throw my scale shapes out, so now I'm wondering whether to start again using the more familiar pattern of using the 5th fret of the B string as my low E... good idea? I suspect the answer is going to be to practice reading in both positions... [/quote] Exactly. If you're playing a 5 or 6 (or more...) string bass then it's your responsibility to learn the 'extra' parts of the fretboard inside out, so it's well worth working through the exercises in every possible position.

[quote name='enricogaletta' timestamp='1436202145' post='2815936'] Anyway to get a good reading level you have at least work on both the aspects of modern reading, sight and rhythm and there are only two options for it, get a good teacher or, learning by your self using the right books with[u] gradualness and constance[/u]. In my opinion I found extremely good these two books: - MODERN READING TEXT 4/4 for rhythm reading [url="http://www.bassbooks.com/shopping/shopexd.asp?id=297&bc=no"]http://www.bassbooks...sp?id=297&bc=no[/url] - SIGHT READING FOR THE BASS for sight reading [url="http://www.bassbooks.com/shopping/shopexd.asp?id=179"]http://www.bassbooks...pexd.asp?id=179[/url] [/quote] +1 for Louis Bellson's book, worked through it when I was at college and it did wonders for my rhythm reading (more on why this book is great [url="https://tomkenrick.wordpress.com/2014/11/17/unorthodox-instructionals-part-3-getting-even-with-drummers/"]here[/url]). For pitch reading I'm a big fan of cello music as it tends to be more interesting than anything written for the electric (or upright) bass, something like the [url="http://www.amazon.co.uk/Dotzauer-Studies-Cello-Nos-1-34/dp/B007HWJIIO/ref=sr_1_3?ie=UTF8&qid=1436221299&sr=8-3&keywords=dotzauer+cello"]Dotzauer etudes[/url] is a good place to start, as are the Bach cello suites. Reading is such a useful skill which so many players get frustrated with and give up on - the time and effort that you're investing will pay huge dividends in all areas of your musicianship, so fair play for taking the plunge!

Double mattress with memory foam top, free collection from Chiswick (2 mins from M4 J2). Recently moved house and have too much furniture so it's in need of a good home.

[quote name='funkle' timestamp='1431948648' post='2776427'] Joe Hubbard has yet another variation which I think sounds a lot like what Tom Kenrick uses. - [url="http://www.youtube.com/watch?v=FXr75R2egt0."]http://www.youtube.c...?v=FXr75R2egt0.[/url] I can't watch it as blocked whilst at work but I think it's similar to Tom.[/quote] I used to [s]routinely get my arse kicked[/s] study with Joe and although we never talked about technique I'm sure he would've let me know if he disagreed with my right hand approach. What I do with my right hand is pretty similar to Joe, albeit much slower! [quote name='funkle' timestamp='1431948648' post='2776427'] 'Free strokes' are much smaller movements and you do not land on the string below; it gives a much lighter/middier tone and allows for great speed. You do end up sounding more like Gary Willis. Gary Willis can play, but I do not like his tone.[/quote] Exactly. Gary is an incredible player and although I've stolen plenty of things from him, his tone is not something I wish to emulate. [quote]In fact, I just want to give quick props to Tom Kenrick here - I've been enjoying his transcriptions a lot recently. I have also generally found that his commentary on various topics whenever I have seen them is solid and useful. Although, sorry Tom, I did make a few corrections when I've been playing through the 'I Keep Forgettin' full transcription... [/quote] Thanks Pete, that really means a lot to hear that people get something out of both the transcriptions and my occasional ramblings on BC. The 'I Keep Forgettin' transcription was done in 2007 when my ears were not quite as sharp as they are today, so I'm sure it's littered with mistakes! Any chance you could PM them to me and I'll make the necessary corrections (with full credit to you, of course). Unfortunately my blog doesn't get the attention it deserves from me as it usually gets pushed out of the way by teaching and gigs, but at some point I'll have a play through everything in the archive to try and tidy up all of the mistakes!

I just wanted to offer an alternative opinion on right hand technique - whilst floating thumb is a great approach (particularly for 6 string bass and ERBs) it's not for everyone. I went to a Todd Johnson clinic years ago when I was at music college and was really impressed by a lot of things he had to say regarding both technique and the process of practising so I dutifully went home and started trying to adopt the floating thumb technique. After a few weeks of trying to make the switch it just wasn't happening so I went back to the way I'd been playing for a decade or so. [quote name='Funky Dunky' timestamp='1431420448' post='2770997'] It was only after another bassist saw me play and was critical of my right hand that I changed it. He told me I was giving myself extra work and that I should instead anchor my thumb on the top of the pickup and simply reach a little farther with my index and middle fingers to pluck the D and G strings. I changed my plucking style, and hello muting problems. [/quote] Even though I'm an advocate of thumb anchoring, this is garbage. If you're using your thumb as an anchor then it still has to move with the rest of your hand as you change strings in order to mute unplayed strings and to maintain a constant distance between the thumb and the plucking fingers. Muting can't just be allocated to the right hand, the responsibility has to be divided between both:[list] [*]Left hand mutes unplayed strings above the notes that you're playing [*]Right hand mutes the string(s) below [/list] Here's how I use the 'moveable anchor' on a 4-string: - E string: Thumb rests on pickup - A string: Thumb rests on pickup, fingers play rest strokes and land on the E string to mute it. - D string: Thumb rests on E string, fingers play 'through' the D string and mute the A string. - G string: Thumb rests on A string (back of the thumb also mutes E string), fingers play through the G string and mute the D string. I find that this allows me to get rid of unwanted string noise and provides my right hand with a secure, relaxed position to play from. It also allows me to play with enough right hand pressure to achieve a strong tone from the bass - the only thing that I really disagree with Gary Willis on is his preference for cranking the amp and playing with an ultra-light touch. To my ears at least, the bass needs to be played with a certain amount of conviction in order to achieve a solid tone. This is not to say that I advocate digging in all the time and playing like you're trying to rip the strings off the bass, I just feel that there's a comfortable middle ground between 'string tickling' and playing with maximum intensity all the time. So, I'm not anti-floating thumb, I just wanted to offer insight for those who might have got the impression that it's the only way to go as far as right hand technique goes.

Such a great album! There are some dots for Graceland [url="https://tomkenrick.files.wordpress.com/2009/01/paul-simon-graceland.pdf"]here[/url] (just the song, not the whole album).

I think there's a lot to be said for 'doing your homework' on a genre of music if you're about to start playing in a band that specialises in a certain style that you might not be completely at home in. Identify 5 or so metalcore artists that the band really takes influence from and listen deeply to as much of their music as possible - this will give you a 'bluffer's guide' to the essential elements of what metalcore bassists tend to play, which should help you to get through the first few rehearsals without feeling like you're faking it! Not exactly metalcore, but interesting metal bassists (to my ears, at least) include Justin Chancellor (Tool), James Leach (Sikth), Evan Brewer (Faceless) and Adam Getgood (Periphery).

Sold Steve a Victor Wooten book, prompt payment and great communication, absolute pleasure to deal with!

Apologies for being self-serving, but I wrote an article on designing (and maintaining!) practice routines last year: [url="https://tomkenrick.wordpress.com/2014/02/02/7-steps-to-better-practice/"]7 Steps To Better Practice[/url] Hopefully you'll find it helpful!

My gig on Saturday night was a complete ballache due to the venue's over zealous sound restrictions. [b]A word of warning to function bands, if you get a booking for Cain Manor in Headley, Surrey then be prepared for a difficult gig.[/b] We'd been advised that there was a noise limiter, but on arriving it transpired that NO AMPLIFICATION OF ANY SORT was allowed to be brought into the venue. Bands have to put the output from their mixing desks directly into the venue's 'sound system' which comprises of a couple of Behringer speakers... Luckily I'd packed my IEMs and a decent D.I. so was able to get a half decent sound, but the rest of the band were totally screwed over by the venue's volume restrictions. A thoroughly miserable gig!

[quote name='dustandbarley' timestamp='1429183749' post='2748825'] (do different octaves need their own accidentals - ♯♭♮?��) [/quote] It's my understanding that accidentals in key signatures apply to all octaves of a given note, but accidentals within a bar only apply to that specific pitch. If the above example had any low F#s in the offending bars then they would need their own accidentals.

Bought a darkglass B7K from Kev. Great communication, speedy postage and immaculate packing. Thanks Kev!

This one is pretty good, I get through about 3 bars on each page before my eyes start bleeding: [url="http://www.amazon.co.uk/Odd-Time-Reading-Text-Instruments/dp/0769233724/ref=sr_1_fkmr0_1?ie=UTF8&qid=1427223785&sr=8-1-fkmr0&keywords=louis+bellson+odd+meter"]Louis Bellson Odd Time Reading[/url] Other than that, lots of musical theatre stuff has plenty of odd time sections ( West Side Story, Rent, Company, Wicked...), there was a thread here a while back with lots of pads for musicals doing the rounds...