DirkThrust

John bought my Compact. No messing around. Nice bloke to deal with and me and Mrs Martin even managed to cram in a bit of culture walking around Salisbury Cathedral

Swift payment, excellent communication. A pleasure to deal with.

Ok Mr Cerveza is next on the list. RichValentine after that.

[quote name='Cygnus x-1' post='826950' date='May 3 2010, 11:04 PM']hi all, expressed an interest in reading this book on march 16th this year, can anybody post an up to date list to see how far away I am please, cheers, Nick[/quote] It seems people don't visit this thread that often. I've been waiting for a reply from Hamster but it looks like he's got the other copy in circulation. Next on the list is RichValentine so I've PMed him and am awaiting a reply.

[quote name='niceguyhomer' post='833463' date='May 10 2010, 07:04 PM']HA3500A head and an equally road worn Hartke VX 4x10 and I have to say it sounded absolutely bloody marvelous.[/quote] I played through something similar the other day. We were playing with another band in a biggish hall and the other band supplied the backline, which was a Transporter 4x10 and a 3500 head with the good old smiley face EQ that gets criticized so much, and that sounded fantastic too. I was seriously thinking about getting a Hartke 4x10 (for about a minute) until I considered the practicalities of lugging about a 90lb 4x10. There are some great sounding rigs about for little money but they're big and heavy. I would love to still have my first proper rig which was a Peavey Tmax and BW115 and TX210 but it weighed a ton. As others have said, so much of the cost of high end gear goes into making it small and light.

[quote name='TheDisparities' post='825861' date='May 2 2010, 08:32 PM']I've got the fender stock bridge and want the best out of my bass so I want to cahnge to a better bridge to get better sustain/tone etc.. thanks everyone[/quote] If you're thinking that it's gonna give you an automatic improvement you may be disapointed. The standard Fender bridge does exactly what it's supposed to do very well, especially if you've got the through body stringing option. I've never really understood the point of isolating your strings from your erm...."tonewoods" by sticking a big slab of metal between them. I wouldn't waste your money.

If that's a B150 I had one for years and it served me very well. Judging by the weight it was probably carved from a solid lump of heavy dark matter but didn't sound at all bad.

[quote name='JTUK' post='825872' date='May 2 2010, 08:44 PM']Forget the P-bass..it will kill you on this... so no compression really required on a good jazz, for example...IMV. If you use a MM..then maybe you'll need more outboard. You need a boosted bridge pick-up and play hard down there....not so much hard as in dig in...but close to the bridge. Sometimes a delicate touch is better..... As with all things..he had his own style and owned it so did it effortlessly..the rest of us struggled..ha ha..[/quote] Yeah I've got the Precision strung with heavy flats with quite a high action which is ideal for the pub rock bands I'm in but I'm really struggling to play this style on it. I know people say it's all in the fingers but you need the right tools for the job and a Stingray definitely lends itself to this style. Looking around YT the guys playing covers of BE's basslines all seem to play with a very light touch which is something I need to practise. The old chiche of "it's not what you play but what you don't play" seems to be very appropriate here. When I first listened to this track it seemed that my brain was adding notes into the rests BE played but what I actually need to do is practise is getting the timing spot on. My respect for him grows every time I try and play his basslines

[quote name='lonestar' post='825780' date='May 2 2010, 07:11 PM']You really need Stuart Clayton's excellent book: [url="http://www.basslinepublishing.com/tab/nile-rodgers-and-bernard-edwards-funk-and-disco-grooves.html"]http://www.basslinepublishing.com/tab/nile...co-grooves.html[/url] It's all in there. As he's a member here I wouldn't feel comfortable copying the tab (and presumably infringing his copyright?) for you but its basically a run of notes over an A7 scale then an octave thingy over Em7 and D9. +1 for Marlowe DK too but buy the book! Hope this helps[/quote] Yeah had a look at Marlowe. What a smug git. Killer player though.

[quote name='bassmeg' post='825725' date='May 2 2010, 06:14 PM']D then slide to E octave pop[/quote] That's the bit. Actually quite simple but made to sound more complicated by 'nard's tricky style

It's probably not that important, just a couple of notes in the middle of the verse riff. I could stick anything in there and it would still sound ok. Just wondered if anyone had it written out. I do agree about getting the sound right though. My Precision just doesn't do it. Is he also using some compression on there to get that squelchy sound?

I'm trying to learn this but I can't hear what's going on in the second half of the verse riff. It's after the first 2 hammer ons and before the E and D octave pops. Has anyone got any idea. Tab or notation would be really helpful

juannycerveza doesn't appear to be a member any more so Hamster is next on the list