SubsonicSimpleton

Learn your chord tones - IMHO in much teaching based on chord scale theory the emphasis is wrongly placed on scales and modes and learning a multitude of fingering patterns.

Chords are context sensitive, so the "correct" scale will change depending on the harmonic function of the chord (e.g. a basic C major chord functions differently in the keys of C major, F major and G major and would require a different scale choice in each case), but the chord tones always remain the same (in the case of our C major chord, the notes C,E and G), so having a solid grasp of the chord tones gives you a basic foundation which will always make musical sense regardless of the context in which that chord is being used, without the need to tie yourself in knots trying to analyse the music - the chord tones are "home" and you can freely explore other note choices as long as you can return "home" at will to resolve any tension you create by choosing more interesting notes.

Also worth remembering that rhythm and phrasing are super important, and by restricting your note choice to the chord tones, you can put more focus on these aspects.

Have a lesson with a good teacher - they'll be able to identify any issues with the bow or your technique very quickly, and give you some good direction on what you need to work on going forward.

Sometimes the solution can be embarrassingly simple, like not using enough rosin(speaking from personal experience ) even though I was going round the houses in my mind thinking I needed a new bass/bow/strings because I was having difficulty making the E string speak with any authority - took my teacher seconds to diagnose and fix.

Might be worth giving the Yamaha THR-10 a try alongside the 1 watt Blackstar in a shop with your guitar and let your ears decide.

If you want to learn to get a good sound out of the instrument, you need to embrace the need to make some noise - the sooner you get on with playing your DB and stop worrying about what anyone else thinks the better.

If you want to work on something this would be a good place to start.
http://www.youtube.com/watch?v=ADKMPguLfoc

Focus one thing and you'll make good progress, don't be tempted to spread your effort and attention too thin. As well as playing the scale up and down, use the same scale fingering to play melodies, simple basslines and you'll soon start to get comfortable with making music on that big empty fingerboard.

Everyone starts at level zero and has to work their way up, don't give yourself a hard time about it.

PM'd

Might be a good idea to give Ashdown tech support a ring and check on the lowest output imedance that the head will run at - the online manual states 8ohm for the five-fifteen head and lists minimum impedance for the MAG and ABM heads at 4ohm.

[url="http://ashdownmusic.com/files/product/file/user_manual_20140110075823_64421.pdf"]http://ashdownmusic....75823_64421.pdf[/url]

Peter Hall in Beverley

Might be worth considering your RH technique in this decision - if you lean towards an economy of motion approach and let the amp do the work, then the narrower spacing can potentially make your playing more efficient(in which case stick with it), but if you have a more animated or heavy handed approach, then the tighter spacing might always feel cramped and wrong.

I would love a gut strung DB, but bottled out on making that string choice on the basis that it would be adding an extra learning curve(maintenance, coping with humidity/temparature swings on gigs etc) on top of getting to grips with the instrument. In the end I went with spirocores to give myself the option of using a mag pickup, but there are some pretty good sounding artificial gut substitute strings that might get you close soundwise without the expense or maintenance hassles of natural gut.

I'm tempted to try these at some point
[media]http://www.youtube.com/watch?v=dwzcihp0gZM[/media]

[media]http://www.youtube.com/watch?v=LbahfFnp-O8[/media]

Are you sure it wasn't good quality chinese, manufacturers like Shen make some really nice instruments at the top of their range. I'm sure there are strings luthiers in Japan, but never come across any info or discussion about them.

In absolute terms, anyone making music is a musician - what's more interesting IMHO is how people perceive their relationship to music.

Is there a difference between someone who defines themself as a guitarist and someone who defines themself as a musician who happens to play the guitar?

IME there is a difference in attitude to what and how each type learn and approach playing, and how they perceive their own skill level.

[quote name='tonewheels' timestamp='1471297777' post='3112001']
No brainer. Use the weight you saved on the cab an invest it on the amp. My rig:

[url="https://flic.kr/p/zobkB5"][/url]
[/quote]
You really need two One10's and then you could make a mini stonehenge rig (ideal for a spinal tap tribute maybe)

[quote name='thebigyin' timestamp='1471255721' post='3111541']
got myself booked in for a couple of lessons just to get the hang of it and then i hopefully take it from there....just want the lessons to learn the correct stance and a few tips on technique,not really into been taught songs or theory ect i have a fairly good knowledge on electric bass so hopefully transfer the knowledge onto Upright
[/quote]
Welcome to the darkside, upright is a lot of fun.

Don't discount the idea of studying with a good teacher - I've been studying with a terrific classical teacher (even though all my gigs are pizz and not classical music) who is quite relentless in pushing me out of my comfort zone and systematic in identifying what I really need to work on, and it has really raised my game in a way that I wouldn't have been able to achieve by self study.

Just remember in the beginning to keep your practice sessions short (like 10 mins) - it's quite easy to be having so much fun that you go beyond what your physiology can cope with, and having to take a long break from playing to allow inflamed tendons to calm down to avoid serious injury is very frustrating(speaking from first hand experience of an enforced month off about 3 months after getting started). If you can fit in several short sessions throughout the day, it's more beneficial than one long session. The strength and stamina will come with time, so be patient.

Get playing with other people sooner rather than later - you can learn lots of things from books and playing along with recordings, but playing music with other human beings is more challenging and rewarding, and it's something you can only learn by doing it.

Does talent equate to how fast/complicated someones playing is?

IME musicians who have developed some chops and feel the need to demonstrate said chops at every opportunity regardless of whether it fits the music or not are not very enjoyable to work with or to listen to, especially if their time feel isn't that good.

Does a bands recorded output necessarily indicate the full scope of what the abilities of the musicians involved are?

Maybe, or maybe not - some musicians never lose the desire to improve even if their main paying gig doesn't allow them to showcase the full extent of their abilities - could you make a judgement about George Benson's ability as a jazz guitarist by listening to this ?
http://www.youtube.com/watch?v=ok__l1Acuwg
He certainly got plenty of hate at the time for "selling out" and making records for a wider audience than jazz afficianados.

Two sensible solutions to avoid big pauses for detuning are to use a pitch shifting device(I'm not a fan but use your own ears) or to have one instrument set up and ready to go in each tuning, so the guitars just swap instruments and check their tuning very quickly rather than wrestling with tension changes on the neck and needing to tune and retune to get the instrument stable and in tune in the new tuning. Quite a few acoustic guitarists on the folk circuit use multiple tunings during their sets, but they tend to cover the retuning pause by telling stories, so there isn't any 'dead air'.

I know a couple of duos that use the Bose L1 compact system for guitar/vocals and rate them highly on the basis of good sound and general ease of transport/setup. The Yamaha stagepas systems are also worth a look, I've used the discontinued stagepas 500 to run vocal and mic'd double bass through without issues - just depends on how loud you intend on getting, you might only need the smaller stagepas400 for just vocals.

[quote name='Beedster' timestamp='1470291533' post='3104735']
And if you really want a project [url="http://www.ebay.co.uk/itm/Double-Bass-Upright-Bass-/322215251580?hash=item4b05868e7c:g:0nsAAOSwdzVXoJwr"]http://www.ebay.co.u...nsAAOSwdzVXoJwr[/url]
[/quote]
500 quid for an abused G4M ply that probably cost less than 400 quid new

Before diving down the expensive strings rabbithole, you could try rubbing rosin directly on the strings you already have in the bowing area if you haven't already tried it.

Looking at some of the youtube comments, the designers are predicting 18hrs battery life which is IMHO abysmal considering the lifespan of a PP9 in most active circuits.

I've seen functions bands duplicate their active tops for monitoring, so if one of the FOH cabs goes down they can rotate in one of the monitors with minimal downtime.

[quote name='BigRedX' timestamp='1469631749' post='3099904']
If you play live and put on a show, then both factors are equally important IMO.
[/quote]
I would agree, but what sort of show are we talking about, and does this automatically equate to expensive?

Kiss put on a very big show - Gene Simmons uses cheapo mass produced basses (albeit ones that cort IIRC supply him with in bulk directly) which he then autographs and sells to hardcore fans at the end of each show for an eyewatering amount. Many players on this forum would consider these axe basses as being on par with other starter/low midrange instruments if you removed the celeb tie in and looked at materials, manufacturing facility etc.

What makes Flea interesting to watch - his energetic stage antics or the bass he is playing at the time?

Excellent link - the region label method would work really well for cutting out chat between songs, I'll give that a try myself.

[quote name='MoJo' timestamp='1469626820' post='3099832']
I wouldn't personally class a vintage instrument as a 'beater', no. The GSR is absolutely appropriate in a pub covers band I'd say, but my ego, I suppose, is telling me that someone who has been playing for thirty odd years should be gigging with something better than what many would consider a 'starter' instrument.
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I find this an interesting viewpoint - Leo designed a bass for the working musician that could be produced cheaply and take a beating, and unless they have sat in a case hidden behind a wardrobe, most older Fenders will have taken a beating over the years. Joe public couldn't tell the difference between a couple of years old squire that has been abused by a teenager and 60 year old fender - they will both look like a tatty old POS to anyone who isn't a music nerd, in fact most of the time joe public can't tell the difference between a bass and a guitar.

Ultimately what is more important, the notes you play(and the way you play them) or the instrument you play them on?

Would an original 50's Fender with 60 years of dings, play wear and nicotine stains be classed as a beater, or would it's vintage status and high monetary value class it as something else?

Personally I think clothes, instrument and amp should be appropriate for the gig and music in question - a designer suit and £10k Ritter would look pretty stupid at a punk gig etc.