SteveK

[quote]The main problem i have is the D and G string are just not prominent in the mix and really do sound thin.[/quote] If the D & G sound thin in comparison with the E & A strings, then, providing you're not trying something extreme EQ-wise, I would first check the set up of the bass. Is the action uniform across all strings? Are the pickups and strings aligned?

[quote]Whadd'ya reckon?[/quote]Don't worry about it. [quote]Having just got a korg pitchblack+, I can actually see it happening... the note starts sharp, comes into tune and then goes flat....[/quote]Forget what the display shows, it'll just make you neurotic. The difference you see is totally insignificant.

When playing straight octaves (low to high) I think most players would find it easier playing down - up. However, when I first started playing (we were still living in caves) I used a pick, and I figured (or I read) it must be better to learn exercises, scales, modes, phrases etc both ways, ie. starting with down-stroke and then the same starting with up-stroke. I've pretty much stuck with that idea ever since. Even when I started playing finger style, I would start with the first finger and then reverse the fingering.

If you see two 1962 Fender Precisions for sale, similar condition. The first bass 20 previous owners, the second only one previous owner - you would still expect to see them priced about the same. Number of owners is irrelevant - It's all about the condition.

Just done a quick Youtube of the song. The chorus is played with a pick and consists of an 8th note followed by two 16ths an octave up, a la dum diddy dum diddy etc If you've only just started playing again, then I think you will probably struggle to play it the conventional two finger style. I would think a pick would be easier (and more authentic). Definitely do not attempt all down strokes - you'll do yourself a mischief Another way, you could try playing the lower (8th note) with the thumb, and play the higher octave (two 16th notes) with the fingers.

Whatever you learn, try it out in a musical context. Get together with some musician friends, or if you have some recording gear, try recording a simple chord sequence, and have a play around with what you've learned. Listen to how the scales and modes sound - experiment! BTW learn to play the scales and modes over 2 octaves and beyond, and using different intervals 3rds, 4ths etc. Edited for clarity

Fretted or fretless, if you set the action too low you will get rattles and buzzes and may notice a deadening of the note. The ringing could well be the truss rod. I've had it in the past on a couple of basses. A slight adjustment may fix that. If it only happens on open strings check that the string is located in the nut properly and that there is a reasonable angle over the nut.

[quote name='The Funk' post='385003' date='Jan 19 2009, 02:44 PM'][quote name='Leowasright' post='384794' date='Jan 19 2009, 11:15 AM'] 3. Tap your foot!!!!!!![/quote] NEVER!!!!!!!!! There's no need for this whatsoever - and for some people it distracts them from playing in time. [/quote] I can't imagine not tapping my foot. If you're not tapping your foot then you've got to be moving some other part of your body. IMV if you aint moving, you aint feeling it - and if [b]you[/b] aint feeling it, how do you expect a listener to.

[quote name='EskimoBassist' post='1090652' date='Jan 15 2011, 05:19 PM']That sounds like a truly magical evening, I must admit to feeling rather jealous reading your account of it![/quote] Yeah, it's not too often that you get to share a changing room with "God". For all you younger members [url="http://www.amazon.co.uk/Clapton-God-Various-Artists/dp/B000S6EYN0"]God[/url]

And once you've got a basic handle on chord tones and diatonic scales and modes, the next step ( ) would be to incorporate chromaticism into your walking bass lines. Chromatic approach notes can really make a bass line flow and swing, and opens up near endless possibilities.

I was asked by two of my band mates to do a couple of songs with them at a gig organised by Paul Jones. My boys had their work cut out as they were accompanying all the guest musicians for two nights. I wasn't at all envious of them at that point. I got to the Cranleigh Arts Centre at 4pm on the 13th (yesterday) to run through a couple of things. Later on Paul announced in the green room that a special guest was on his way and would be doing a few numbers. Sure enough the guest arrived and stood at the green room door at which point Paul got to his feet to welcome him. I was busy tuning up and generally getting ready, until Paul said, "Eric, I'd like you to meet the guys". I looked up, and sure enough there was Mr Clapton. The 200 odd punters (sold out both nights) at Cranleigh Arts Centre were in for a treat, and boy did they get a treat. He did 3 numbers, trading solos with the 2 other guitarists and keys player. I stood at the side watching my boys on stage with "Mr Slowhand" himself...now I was envious Gotta say, Eric played and sung great, and was obviously having a ball, and the whole band were tremendous. I got up and did my stint a little later which included a slightly heavier version of Mighty Quinn than Paul will have been used too, but he did great as did Robert Hart who shared the vocals. A great and unforgettable night was had by all. [url="http://www.whereseric.com/eric-clapton-news/303-eric-clapton-guests-paul-jones-charity-gig"]EC at Cranleigh[/url]

[quote name='wal4string' post='1086984' date='Jan 12 2011, 06:02 PM']I read that she was in so much demand at this time she kept a diary which she still has, and apparently the diary clearly states that she played on the session, but yes it has Jamersons chromatic trade mark runs all over it.[/quote] We've all read/heard about [i]Jamerson and Kaye, who played on what?[/i] I feel that It's possible that Kaye has been a little maligned in this debate. In the session world it's not uncommon to have 2 or more musicians do a part. I don't know the history of the track, but It is possible that Kaye did the "I was made to love her" session and then had her part replaced by Jamerson, or vice versa. Maybe the entire session was scrapped and started again with different musicians. I have (once or twice) been called to replace an existing bass part. It's also quite probable that some of my parts have been replaced. I've even been credited with sessions that I have absolutely no memory of.

Used Rotosound Swingbass since about 1973 and never had a problem with them until the late 80s, when I started having trouble with the E string in some packets. Not tried them since - may be they've improved their QC since.

There's an awful lot wrong with that clip. If he was after advice, I would suggest a good teacher before he develops any more bad habits.

[quote name='arthurhenry' post='1081485' date='Jan 7 2011, 08:20 PM']"As a bass player, you can't play when the drummer hits the snare, you have to stop." ???[/quote] Absolute tosh! If it's an accurate quote and not taken out of context, then, frankly, I'm staggered.

Not sure if this is the kind of thing your after, but, 'killer' bass line anyway, imo. Courtesy of TM Stevens. I'm surprised he doesn't get more attention on these boards. [url="http://www.youtube.com/watch?v=9tYIbLrco24"]I Shoulda Loved Ya[/url]

The drummer looks familiar... ...oh yeah! that'll be Jimmy Copley who just happens to be our drummer [url="http://www.manfredmann.co.uk/"]link[/url]. He's the guy on the right (colour photo) in the black t-shirt. Jimmy often talks about his days with Upp, and in particular, Stephen Amazing. I think he said that Stephen passed away some years ago. I saw Upp once, about 1974/75 at the Marquee in London, in fact my band were support. I remember at the time being hugely impressed with the band. I think SA was the first bass player that I'd seen playing serious slap. They were a great 3 piece. Jeff Beck gave them a lot of support at the time and would sometimes get on stage with them. Apparently Upp were quite an influence on Jeff Beck, certainly in the Jazz/Funk department. In fact, Jimmy said that they demo'd a few tracks for Blow by Blow. Little did I know then that Jimmy would become a good mate and colleague. Incidentally, Jimmy recorded a solo album a couple of years ago, [url="http://jimmycopley.com/"]'Slap my Hand'[/url] on which Mr Beck (with many others) guested.

Ask yourself, 'what does one have over the other?' Unless you're a hypnotist, I see very little advantage in the old mechanical type. Advantages of an electronic: 1. Often have an earphone socket. 2. Often double as a tuner. 3. Often have a volume control. 4. Can be small enough to fit in your gig bag. 5. Often have simple percussion type sounds. 6. Often have quite sophisticated percussion type sounds. 7. Sometimes have simple grooves pre-programmed 8. Sometimes have quite elaborate grooves pre-programmed (can sometimes programme your own grooves) 9. Can be used on a slight incline. 10. Can be used on a boat. 10. Can be used on its side. 11. Can be used upside down. 12. Usually has a pretty flashing light(s). (actually, know a couple of drummers who use the flashing light to set tempos on gigs.) 13. Won't remind you of your old school music room.

It's all down to personal taste and how you attack the strings. I generally play harder than your average player. Consequently a bass with a 'good' 'low' action will be too low for me - too many rattles and buzzes. If your a tickler then a very low action will be possible. Some players are also more tolerant of rattles and buzzes than others. Experiment - see what suits you. BTW before playing with the action make sure the truss rod is suitably adjusted.

I've read many posts in the 2 years or so that I've been here, along the lines of: [i]'How do I get this tone?'[/i], [i]'How do I get that tone?'[/i] [i]'How do I get to sound like Jaco'[/i] [i]'How do I get to sound funky?'[/i] My usual response used to be, 'It's in the fingers'. I don't generally respond to that type of thread anymore. It kinda gets boring trying to explain it to those that would prefer to ignore their fingers. Give me any reasonable quality amp and cab combination, give me any reasonable quality instrument and I will sound like me. Give me a DI and plug me straight into the board and I will sound like me. Amps and cabs and instruments have their own inherent sounds of course, but in the grand scheme of bass playing that is pretty insignificant. Far too much emphasis is placed on gear. IMO of course

[quote name='bobbytodd' post='1060147' date='Dec 15 2010, 10:50 PM']ive got an old presonous tubepre di our desk is some yamaha thingy that can run 2 monitors but we use 3 mackie srm450v2 as monitors so i was thinking if we linked two of them together for vocals ect then run the other one from the second aux with just my bass through it.[/quote] Okay, my last reply was assuming that your PA could cope with task. I don't know the gear you list, but my guess is that it's not up to the job... I think I would get a mate to help you get your gear up the stairs.

[quote]any of you lot just run direct into the desk and not bother with a bass amp.[/quote] Done it once or twice over the years. I wouldn't do it again out of choice, but providing you have a DI and you can hear yourself through the PA or monitors, then, you should be ok. I remember doing a festival in Switzerland many years ago, and the John McLaughlin Trio were on the bill. Dominic de Piazza just turned up with his gig bag slung over his shoulders, he unzipped it, took out his bass, walked on stage, plugged into a Di, and off he went...no back line at all...sounded pretty good to me.

[quote name='blackmn90' post='1058234' date='Dec 14 2010, 09:48 AM']funky_numba. There seems to be a lot of utter crap on this thread.[/quote] Not sure that I would've put it quite that way!! I think the confusion comes from Paul's (funky numba) misuse of the word 'funky'. He is obviously using the word to refer to the [b]sound[/b] of the bass. 'Funky' has nothing to do with this. Paul, you can sound funky on virtually any bass, whether it has brand new 'Super Zing' strings or 120 year old 'Extreme Flatos' - It's all in the fingers. If however, all you want is a bright zingy sound with lots of sustain, then, that will be down to your bass, how it is set up and strings etc. 'Funky' is a style, not a sound...at least in my book.

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[quote name='Pete Academy' post='1048158' date='Dec 5 2010, 12:47 PM']I remember seeing a documentary about Jamiroquai, where the band was on a fixed wage for doing nothing.[/quote] It's called [i]a retainer[/i] - not that uncommon. Been on retainers myself in the past.