highwayman

Thanks for the replies! Matte_black, it's a consideration, but the Briefcase seems to be rugged enough to take out of the flat, while the B-Social strikes me as a home piece of kit (especially with the open speakers). Cuzzie, I like your thinking, though ideally I'd like something smaller and that doesn't need an external power source (I've started a thread on this specific subject on the technical section).

I'm seriously considering a Phil Jones Bass Briefcase amp as it suits most of my requirements; the one area it seems to be lacking is the inclusion of a 3.5 mm aux input to play my phone through. PJB's importer has suggested a Rolls 22MXb Minimix line mixer as a potential solution, though I notice it requires an additional power source - something I'd rather avoid, especially if I use the Briefcase's battery-powered function whilst out and about. I'm looking for a small, simple, high quality (preferably affordable) solution that can take 6.3 mm jacks from the Briefcase and Stingray and my iPhone's 3.5 mm jack and that doesn't require a separate power source. Suggestions please!

[i]"The PJ Flightcase is still very compact and has a bit more oomph" [/i] I'm actually leaning towards the BJB Briefcase, though the lack of an input jack to allow me to play music from my phone through during practice (and eventually performing solo) is a sticking point - any suggestions around that please?

I'm after a small quality combo, something that stows in my wardrobe; the two that I have in mind are the Markbass Micromark 801 or the Phil Jones Bass The Cub. I'd like to try them in person, but I'd also like to seek the opinion/experience of my fellow Basschatters. Things to take into account: I play a Stingray (modern) Classic; soundwise think disco/eighties/Synthwave. I'd prefer punchy over subtle, but still true to the instrument's actual sound. I'd have also considered the Phil Jones Briefcase but I don't think that new or old versions have an input to play accompanying recorded music through? Cheers

"the two EQ is where that killer stingray tone is at!" What settings of the 'Ray controls do you suggest for the 'killer' tone? (obviously amp, etc. come into play too).

This is the one:

Thanks all

A couple of questions regarding Stingrays please: Mine has three controls, what's the fourth one for on other variants and what sound impact / difference does it have? If the battery goes, will it still play? Can it be played in passive mode? (Stingray 'new' Classic). Cheers

I've found [i]exactly[/i] what I was looking for at the front of Stuart Clayton's book 'Funk & Disco Grooves': it's a single page, headed Notation Legend, which I've photocopied and laminated for reference.

So, when reading from a bass music book I really want to develop my notation skills (which are ok for a bassist of nine months) but, if the notation and TAB are both provided next to each other, I can't help myself from reading the TAB! It drives me nuts! Anyone else find this? I'm wondering about solutions (I clearly don't have the willpower to not glance down), but I don't really want to deface the books with permanent marker or black electrical tape...

Thanks. I do better from notation right now though; I've found this one: http://bradcheeseman.com/wp-content/uploads/2013/09/Get-Lucky.pdf Will this have been specifically transcribed for a five string? (or will it work fine with four?).

What I'd very much like - and am surprised that none of my books have say in tear out form - is an A4 page that I can laminate & keep on my music stand that has all the bass related notation symbols & explanations, for quick reference. Does anyone know of such an aid?

I'd like to see a transcription for a four string? Are the ones out there for five strings (as it was originally)?

Ref the pickup on my Stingray: it has two screw 'humps' on the top, which I sit my thumb between - when I've tried taking it onto the E or A strings & back again those humps seem to be in the way. Anyone else found this?

Just splendid! Where could you get that backing track? It's just become my ambition to play that... though as I'm only at reading stage I'd love to see it transcribed.

Looking at trying a couple of books on the subject: - Theory For The Comtempoary Bassist by Tracy Walton and - Essential Music Theory For Electric Bass by Robert Garner Both get praise (Amazon etc.) for their comparative clarity, has anyone read either of them?

Thanks for showing an interest: so far I've really just been playing the exercise pieces in the books, oh & I've learned the lick to Michael McDonald's 'I Keep Forgetting', which I play far too much! What I'd like to do is know how to build some cool cinematic grooves, nothing too complex. I think that the times when you feel like giving up on something are when you're on the cusp of moving forward.

I'm about eight months into my bass journey and have made some decent progress: I grasped playing with a plectrum pretty quickly, then (hiding my plectrums) I've developed my (two) finger technique in the past six weeks. I'm working my way through both Hal Leonard and Stuart Clayton books and can now read music notation a bit - though when a piece is written in notation above and tab below, I can't help my eyes from going to the tab every time! Since December 15th I've been keeping track of my daily bass practice in a journal, noting what I've done and for how long. I've also recorded days off. Today I was (unusually) fed up, as I feel I'm no closer to understanding [i]why[/i]? When the books do touch on theory I find it really dry, & my brain switches off. Right now I feel like I'm getting just ok at copying and that's it. Is there a way of learning bass guitar theory for kids? (not that I am one), as sometimes such teaching methods are the best. I feel like I'm hitting a wall.

Useful - it's going to take some practice... thanks fella

I've bought a book, '[i]70s Funk & Disco Bass [/i][i],[/i]which has a load of grooves to play along to (complete with CD), though there is one main aspect of the notation (as a relative beginner) that I'm not getting on with: there are numerous X symbols (on both the notation and tab lines). This is a pretty subtle nuance (I believe) - does it mean not fretting the string but not letting it ring cleanly either? The book's filled with X's and my versions don't sound so good, as I could do with more insight. Are there any clear videos out there explaining this technique?

Thank you for the informative replies all. When I use a pick I find myself naturally using the lower edge of my palm to mute, no one showed me, it just came naturally. I guess I'll find my way with fingerstyling too. One thought: on basses that don't have thumb rests (like my Stingray), I'm surprised manufacturers haven't made the top edge of the pickup cover more ergonomically shaped, sort of a 'thumb seat'?

Vox Bass amPlug for less than £35: brilliant piece of kit; it's all I use these days (as a learner), teamed with a pair of Sennheisers. My amp sits in the wardrobe until it's called on one day. https://www.amazon.co.uk/Vox-AP2-BS-amPlug-Headphone-Amplifiers/dp/B00NAUKJTY/ref=sr_1_1?ie=UTF8&qid=1483298027&sr=8-1&keywords=vox+amplug+2+bass It could only be improved by making it USB rechargeable over its current AAA batteries.

I've had my bass since April, but have only really started to progress in my learning since I started a tuition book by Stuart Clayton. I took to decision to stash my plectrums and have a go at finger style: wow, I'm pleased with my progress (and find my fingers motoring away whilst walking to work, touring the aisles of Sainsbury's, etc!). One thing that I'm finding: my thumb seems very happy sat on to edge of my Stingray's (sole) pickup, and so whilst I understand the string-muting benefits of the 'travelling thumb', does everyone use it or do some experienced bassists keep it anchored?

This, more than any other piece of music, made me switch to bass... https://www.youtube.com/watch?v=VOxgcYWZzio

CJL, thanks for your encouraging words, the plectrums are well and truly stashed away!