Dood

I have video reviewed the Rh750 in my bass section of iGuitar magazine. It's always free to read. Here's issue 6 with the RH in. Next week issue 12 goes live online. Direct link: http://licklibrary.ceros.com/iguitarmag/iguitarmag-issue-6-michael-angelo-batio/issue6/page/1

[quote name='fumps' timestamp='1345811512' post='1781841'] That is sheer gold !!! I was a massive fan of Anthrax when I was a young un.....my god the times I used to sit & watch the Oedivnikufecin !! I think actually he would be one of them guys i would be a little star struck with lol. You have now made me think about doing some of their bass lines now [/quote] Thank you! The interview is also on YT! I have to admit that I was a little excited too and it shows.. But not only that, this was one of my first interviews that i did live on stage - i left all my notes in the office and i was surrounded by media types who have been doing that kinda thing for years! That said, Frank offered me his beer and his single malt (i think) he was enjoying and was a totally friendly, approachable guy. Just like hangin out with a mate! Oh.. And I always expected both Dave and Frank to be taller lol! I am 6'3" though!

As for Fodera as an instrument, no I really don't think it's even twice as good as say, a Shuker for example. Jon's current crop of instruments are breath taking.

I think in terms of the review, it's nice to know what an Aston Martin feels like to drive but not everyone has an opportunity to do so. I therefore like magazines to do a bit of a 'Top Gear' every now and then, but for most - the gear reviews are better off being stuff within people budget. I *think* BGM get that, but i haven't read recently to substantiate that. I'm sure they do. Aston Martins are bloomin' lovely to drive. DB9 being a fave right now - but i wanna get my mits on a Vantage V8

+1 for the LS-2 I sat and watched quite a few before leaping on an eBay auction. Very pleased with it. Sure it might not be the rolls royce of pedals, but it gets the job done and has all the major settings us bass players are likely to require. I'd love to have an ls-2 selector close built in one of those tiny SFX enclosures, but for the money, the LS-2 secondhand was a no brainer for my wallet.

I interviewed Frank last year for Guitar Interactive Magazine (that I write the bass department for ) prior to a Hartke bass clinic featuring Dave Ellefson from Megadeth too. He's a top chap and we ( G.I Mag & Licklibrary) recorded this performance of Got The Time of Frank playing along to the track. You can see the bass solo in detail. It's actually fairly straight forward when you can see what is going on Copied this link via ipad, but it's on Licklibrary's youtube channel: http://www.youtube.com/watch?nomobile=1&v=j7LPw4yDA9M

[quote name='cheddatom' timestamp='1345728436' post='1780951'] I used to have to pay a cancellation fee [/quote] I make it very clear to my students from the onset that they agree to my T&Cs including fees for missed lessons. As for lesson content, i think that different people come for lessons for different reasons. Some do not want to learn theory and just have ambitions to play in a pub band one day. Others want qualifications and letters after their name. As a teacher it is important to make sure that you both know what you are offering in your lessons and what they should expect. But also what they want from lessons too, then there is no question should things go awry. Draw up a 'teaching agreement' a kind of written lesson structure whereby you make an agreement over what you will do for the student and what you expect back. Have you both sign this 'charter'. No, it's not legally binding, lol, but it does have an effect on students. So far I've not needed one, but my students have a written diary every visit so they know and are reminded what they should have done for homework, but at the same time know what's coming next. I.e a definite plan to keep them interested and have an opportunity to contribute.

Oh gosh, what have I started! Lol

[quote name='JakeBrownBass' timestamp='1345679887' post='1780549'] The session world is nothing like it used to be. IMO there is no such thing as being a session player anymore. Being called up to record in the studio nowadays is a thing of the past with modern music, if an engineer can use a keyboard & computer, they will because it saves time & money. The industry has changed a lot, so to get into to it you have to know the guys that are still doing it and they have to call you, but it wont pay the bills anymore. [/quote] Yes, this! I get asked to do 'remote recording' in my own studio and then send the stem files over. No studio costs, no engineer time. Hell, with the technology we have these days, many bands are doing an album in their front room!

Paging 'legoman', paging 'legoman'. Someone who is very interested in finding about this particular combination!

Hi! For a guide on rates, start with the Musician's Union. There's a ton of information available including industry contacts and advice as well as support should you find yourself in a situation requiring such. You can also get sample contracts to take to sessions too. My main advice is much like any other area of being self-employed in the music industry. Don't expect session work alone to pay the bills and with so many 'session players' out there, it's already a cramped market. Most studios, producers etc have their 'go-to' players already, so be prepared to prove you are a better choice! Expect to be faffed about with and do lots of travelling for good work. You will be expected to 'deliver on demand' quickly. That rather depressing dispensary out the way, it can be hugely rewarding and there's opportunity to work with awesome artists. I personally don't use session or dep work as my main income, but I like to keep a hand in because it's great fun and as I say, really rewarding. Oh p.s. expect that some artists believe you should feel lucky just to be in the room with them and somehow think your mortgage company takes 'facebook page shares' as payment lolz.

[quote name='silddx' timestamp='1345641107' post='1779844'] Thank goodness! I thought I was going doolally [/quote] I was sure I'd proof read my reply! I should have gone to specsavers hehehe! My eyes, my eyes.. grooooaaaaaan!

[quote name='silddx' timestamp='1345640175' post='1779818'] This is a point of confusion for me. I thought the dominant chord was built on the 5th note of the scale. Likewise the subdominant on the 4th. I understood the 7th to be the leading note. Am I wrong here? [/quote] Waaiiiiiiiiit! Which one of you mods has been editing my posts lol!! vi is a minor chord vii SHOULD read 'dim chord' for diminished not 'dom' for dominant.

[quote name='silddx' timestamp='1345640175' post='1779818'] This is a point of confusion for me. I thought the dominant chord was built on the 5th note of the scale. Likewise the subdominant on the 4th. I understood the 7th to be the leading note. Am I wrong here? [/quote] You are quite right in that the 5th step of the Major scale provides the root note for the dominant chord. The 4th step of the Major scale provides the root note for the sub-dominant chord. The quote you have made simply describes that if you create your 1st, 3rd and 5th intervals for each chord starting with each step of the major scale in turn, for example C, E, G then D, F, A, then E, G, B and so on, you will either derive a major or minor or diminished chord for that specific step.

[quote name='xgsjx' timestamp='1345621625' post='1779451'] You want a Kettle lead. [/quote] Lol, thank you

[quote name='chris_b' timestamp='1345630072' post='1779606'] Playing "out of your comfort zone" pushes your brain and fingers to new levels of dexterity and is a very good thing. [/quote] And there's also nothing like the buzz of 'flying by the seat of your pants' live too. There have been dep gigs when I have had almost too many songs to learn in the alotted time prior to playing and sometimes lucky to get a full rehearsal in. But it's great when it all comes together and the gig goes well... Which it will! Have a great one!

Awesome Rasta! I spent hours messing with mine last night whilst jamming ideas with the built in drum machine and looper!

I'm not usually a pedant, but I am so happy to see that the word 'Kettle' hasn't found it's way in to this thread!

[quote name='Jam' timestamp='1345585956' post='1779253'] Cheers man, that helps a little, but how is it that D to F is an interval of a minor third? Say, if you fretted D on the 5th fret of the A, F is the 3rd fret on the D, that's how you know it's a minor 3rd? Is there no other way of working that out than fretting it? I was trying to see if there was a logic behind it that I could work out if I didn't have a bass to hand... [/quote] I'd love to have you over for a lesson or two - I've devised a really easy and clear way of making all of this very easy to grasp and understand , but I don't seem to see my way of delivering it in books! Wow - maybe I should write a book!

p.s. - yes, I think it's all too easy to drown a student with waaaaay too much detail when it's not needed (yet).

[quote name='Jam' timestamp='1345586404' post='1779266'] Oh god I'm such a mong, I've just realised my mistake with the A Major example! I think perhaps it IS good to use the major "shape" to work things out sometimes. Thank you guys, I love this forum! Dood, can I assume then that no matter where on the neck I play the major scale box, the following still applies?: i - Major Chord ii - Minor Chord iii - Minor Chord iv - Major Chord v - Major Chord vi - Minor Chord vii - Dom Chord [/quote] As long as your are working out a Major key (e.g D Major in my example) then you will adhere to the TTSTTTS 'rule' and therefore the same 'rule' pattern on a standard tuned (fourths) bass. You can stretch it over 4,5,6,7 strings and get the same results anywhere on the neck.

[quote name='Jam' timestamp='1345581041' post='1779170'] For example, A major scale: A, Bm, Cm, D, E, Fm, Gdim, A Is that correct? How on earth am I going to remember that when I'm playing?! [/quote] As Peteb has pointed out, not quite. Let's keep this REALLY simple - it's WAY too easy to make this confusing! Remember that the 'rule' for a Major scale is T T S T T T S Although Stuart does say that he wants to shy away from just demonstrating patterns parrot fashion, I think in this case a simple pattern under the fingers can be a god send! Here's our 'rule' laid out on on the ole 4 stringer. If you know your fretboard well, then just using this pattern and what you have pointed out earlier you can 'work out' firstly what all 7 notes of a given major scale are and then whether or not the chords derived from each of those 7 steps step are major or minor. (we are only concerning ourselves with triads at the moment for ease of understanding.) [media]http://www.bassguitarscale.info/wp-content/uploads/2009/10/guitar-bass-scale-major2.jpg[/media] For example: i - Major Chord ii - Minor Chord iii - Minor Chord iv - Major Chord v - Major Chord vi - Minor Chord vii - Dom Chord lay your pattern out starting on D for example and you should find the notes D E F# G A B C# and back to D if you are continuing up to the octave. You can then surmise that again as an example, the third chord ('iii' above) in the key of D Major will be F# Minor.