AM1

[quote name='ped' post='486097' date='May 12 2009, 04:39 PM']So yeah, Kiwi is a sex pest.[/quote] I knew it! You, of course, are entirely innocent. Where have you been anyway, you're late to the party! You missed all the funny parts where we hurled childish insults at each other!

[quote name='Protium' post='486082' date='May 12 2009, 04:26 PM']I will teach you in exchange for your Porsche [/quote] Ha, the day you buy one, you might as well hand over your driving licence! A fine example of German engineering - built to be driven on German roads - NOT British roads! I sold that car a long time ago, but you should have heard the noise when it was over-revved from 6th gear back to 4th. It was SEX. Don't even get me started on configurable stability management. Beautiful flat six engine! I think the six is for the amount of points you get every time you drive it. Hehe! Digression alert! Back to bass!

[quote name='51m0n' post='486051' date='May 12 2009, 03:42 PM']Now you're making me blush :blush: Thank you. 'What It Is' is neat isnt it! Right little pant swinger IMO. A little thread on that track - goes into where the inspiration came from (guitarist rock nonsense), and how I got all the bass sounds in some detail:- [url="http://basschat.co.uk/index.php?showtopic=46803"]http://basschat.co.uk/index.php?showtopic=46803[/url][/quote] Thanks for the link, I'll take a look. [quote name='51m0n' post='486051' date='May 12 2009, 03:42 PM']To cut a long story short, thats my Roscoe Century Standard 5 string direct (every part). No mic'ing of amps at all. That middle 8 bit is with all eq flat, and just favouring the bridge pickup a hint. There is no EQ post production, but for the top parts in the chorus I scooped out the bass with the onboard preamp. So I guess you get what you pay for - its the most expensive bass I've ever played (unfortunately replacing it would cost significantly more now the exchange rate has gone bonkers).[/quote] Did you use that same bass to record all the bass parts? What's the effect on the higher register parts, it's a bit synthy and an almost wah effect? I'm really surprised that there's flat EQ in the middle 8! No effects at all?? The part that comes in 2.08 is insanely funky! Seriously, that's pure FUNK! I am a slave to the funk - no matter how hard I try to resist and branch into other styles, it lures me back! [quote name='51m0n' post='486051' date='May 12 2009, 03:42 PM']I got it from Mark at [url="http://www.bassdirect.co.uk"]http://www.bassdirect.co.uk[/url], and it is an amazing instrument. Cant recommend Mark enough.[/quote] Sounds like a great bass - but technique is king, as you've demonstrated so well.

[quote name='51m0n' post='485996' date='May 12 2009, 03:00 PM']Dont know why you cant see my sig.... [url="http://www.myspace.com/simonnaishbass"]My MySpace Page[/url] Flutebeast is very much a freeformed funk groove, if you know what I mean, none of the fills are worked out at all really. In fact the whole song dynamic came from playing and jamming it a lot....[/quote] OK yeah I can see it now. Very free form! Great grooves - this is the stuff I absolutely love! That track "What It Is" - IMMENSE bass sound!!! That's one filthy groove too! How did you get that sound? That sound at 2.08 - yeah! That's what I'm talking about! The sound up to 2.08 is very old style Ampeg-ish but I'm sensing it was not an Ampeg head! Very clever rhythmic syncopation. That's outrageously funky!

[quote name='51m0n' post='485977' date='May 12 2009, 02:43 PM']Then this will interest you I think:- [url="http://www.2000adonline.com/forum/viewtopic.php?f=21&t=24705"]http://www.2000adonline.com/forum/viewtopi...=21&t=24705[/url][/quote] Haha, no way, that's cool! I can't wait to hear the music! Will definitely be interesting coming from a games developer! I found a CPC 464 emulator recently - now my basslines sound even more like 80's computer games!

[quote name='51m0n' post='485965' date='May 12 2009, 02:31 PM']When I play now, 95% of the time its entirely instinctive - has been for a very long time. Dampening is generally just not an issue at all. But every now and the you find a piece that requires a bit more concentration. A good example is Freak Out by Chic. Its not very hard really, but to play it plucking every note to speed it can really matter which finger you lead with (esp if you use two fingers to pluck with) so that the first C on the A string is played with your RH middle finger. Why? Because its longer than your index so makes ascending a tiny bit easier. That kind of thing does require a moments thought, but it shows itself up when you start bringing things up to speed - for me anyway. The you figure out your strategy and carry on. If you are grooving away and free forming a funk line then you never ever think about it. If you go to my myspace page (see sig below) and listen to the track Flute Beast (sorry for the poor recording, it was live off a single mic) that groove is the kind of thing I mean. There is masses of string skipping, muting (the verses are effectively the chorus groove but more staccato) etc going on, no unwanted ringing of strings (promise) and no thought at all for dampening strings with either hand. It just happens... Obviously practicing getting that index finger working better is the real answer, but any little edge you can get helps.[/quote] OK - I was hoping that was the case! I can't see your sig though - I was going to ask if you had any recordings.

[quote name='51m0n' post='485956' date='May 12 2009, 02:22 PM']Wow. A lady who knows her 2000AD. Much much respect [/quote] I sense a fellow purist!

[quote name='51m0n' post='485940' date='May 12 2009, 02:09 PM']Deadlock: "You'll learn to deal with Khaos, or Khaos will deal with you..." 'Nuff said! [/quote] Hahaha! "When he was ready, it was Nemesis himself who came for him.."

[quote name='51m0n' post='485897' date='May 12 2009, 01:31 PM']I spent 4 years of my life working on technique first and everything else waaaaay after. I could physically play almost anything i had ever heard at one point (before weird Garrison techniques and double thumping came along). Certainly cant make the same claim now, and I didnt understand everything I could play by any means, but my technique was super solid. I taught people basic to advanced technique and basic to midle-ing theory for 15 years on and off. LH cr@pness is easy to spot and hard to fix (fingers wiggle about miles off the fretboard is a dead giveaway) RH cr@pness is harder to spot (often) and easier to fix (its physically easier to do it right IMO for most people, its quite tricky to work out exactly where its going wrong) One other point, most people play too hard with their RH. You dont have to play pianissimo all the time, but if you play hard to begin with you cant dig in as far when you need to, it wont have the same huge effect when you do, and you will tend to fret to hard, be more tense and play less well as a result.[/quote] Yes I've done quite a bit of work on dynamic control on the right hand, that element is passable, it was the other issues really impeding progress. I can actually see it in my left hand that there's too much movement, this is why I was trying to compensate with my right hand, by damping with my ring finger. A question - when you spent that 4 yrs working on technique..when you now play a piece of music, do you have to individually work out for each note, which fingers you use to damp the other strings, or have you practiced that left hand damping in so many scale positions that it is now automatic no matter which fret/string you're playing on?

[quote name='51m0n' post='485919' date='May 12 2009, 01:55 PM']Not problem, let me know how you get on [/quote] Oh I will! Thanks for zapping my Tuesday evening, uh and probably every other evening, you evil DarkLord of the bass!

Hi again I just watched that video again and there is a section in the middle where you can clearly see that on my left hand, the non-fretting fingers are moving far too far from the fretboard. You have totally nailed the problem. This explains so much! [quote name='51m0n' post='485883' date='May 12 2009, 01:20 PM']Its will be tortuorous I'm afraid. I used to practice standing in a doorway with my left hand a cm away from the wall where the door would be if it closed. That way I couldnt keep opening my left hand all the time.[/quote] Great tip - for sure this will be torturous because I have to unlearn some really instinctive habits. This has been annoying me for some time now, just so glad I finally know how to fix it. [quote name='51m0n' post='485883' date='May 12 2009, 01:20 PM']Eventually you realise how much energy you are wasting by opening you hand except for the fretting finger. Then you realise how this is what has slowed you down all this time. Then you realise that what you need to do is relax you left hand completely Then you realise that this has all been caused by squeezing your left hand too tightly to fret a note.[/quote] Yes - this totally explains why I keep getting pain in my index and middle finger as well, it's not just a case of pressing my fingers too hard onto the frets, it's my overall hand position, i.e. the compensation of my other fingers being too far away so there's no real power in my fretting finger, if that makes sense. [quote name='51m0n' post='485883' date='May 12 2009, 01:20 PM']Task: With your index finger fret a note as normal. Then, play crotchets, and slowly relax you finger until the string buzzes, then apply more pressure as gradually as you can until it stops buzzing. Is this significantly less pressure than you normally use to fret a note? Repeat with each LH finger. How much energy have you been wasting? Now relax you LH over the strings like a mute. Place you hand such that you have the tip of you index finger in place to fret a note on the A string, you middle and ring will probably reach the E string. Apply pressure with the index fuinger until the note sounds. Experiment with all other fingers on all strings. You are trying to recondition yourself to use as littel motion and strength as possible with your LH, whilst muting all strings. Now promise me something, [b]every time[/b] you pick up your bass to play in the next year, start with this simple exercise. Really.[/quote] I will. You can imagine how seriously difficult it's going to be for me to get that co-ordination, particularly now I've got into a bad habit on the left hand. I'm going to have to absolutely hammer this now to fix these issues so that I can play with more than one right hand technique. I could have carried on forever and a day, playing with floating thumb and getting fairly decent damping, but a massive compromise to speed and the consequences of that seriously inefficient left hand technique. [quote name='51m0n' post='485883' date='May 12 2009, 01:20 PM']Then go on to the staccato exercise I mentioned before. Your playing will be 100 times cleaner in 6 weeks.[/quote] Seriously - thanks for all this. It really takes a lot to impress me, but total kudos to you, you have clearly expended major time and effort on this!

[quote name='51m0n' post='485832' date='May 12 2009, 12:39 PM']Question: When you play a scale are your left hand fingers flapping about or do they all stay within a half cm (max) of the strings even when not being used? Cos if your LH technique is right your LH fingers stay very close to the strings all the time, which is a very natural step from the resting on all the strings. When you push a string down with your index finger your middle finger can reach and damp the string below (in pitch) along with the ring finger and your pinky can help dampen strings above (in pitch). In fact you can maintain LH dampening of all strings regardless of which finger is playing on which string. It is worth anchoring your thumb on the top of the pup and working exclusively on LH dampening playing major and minor scales, in thirds, in 6ths etc in one position up and down. It is a real finger stretcher!!! I am really starting to see this as the bit your are missing!![/quote] I think you are right!!!! I just watched a video of my playing and there is no way my fingers are all half a cm away from the strings. I do find it quite difficult to keep the other fingers close to the fretboard. So, quite clearly, because I am using that floating thumb technique, I have got away with not cultivating proper left hand technique and this is what is hindering me when I try and do anchor on the pickup playing. Actually, this explains a lot - I am seriously amazed that you could work this out from a forum! I am so, so, SOOO not looking forward to the practice session that awaits me tonight!!

[quote name='tombboy' post='485846' date='May 12 2009, 12:50 PM']Reading all of this about LH damping and RH doobrie-ing has made me realise how crap I am and that I need to practice more!! Thanks for that Ann-Marie... you patient, fastidious, determined bugger, you! [/quote] Hehe! Sometimes I think I am my own worst, perfectionist, enemy!

[quote name='alexclaber' post='485805' date='May 12 2009, 12:12 PM']My approach is a hybrid one - the thumb rests on the pickups, B, E, A or even D string depending on what the fingers are playing but it doesn't always shift, totally depends on the line being played. I also use my thumb and ring finger to pluck at times, so the only digit that's never used is the little finger. Eg. if playing octaves between A and G string I'd rest on the E. But if playing a line that starts on the A string and then travels up to the G I might shift from E to A as required. It's similar to left hand technique conceptually - do you keep your thumb in the same place and pivot the hand around it to reach a note, or do you shift the hand because the subsequent notes all require that shift? Alex[/quote] Playing octaves between A and G string - here's where my problem with floating thumb manifests because I would pluck the A string with my thumb resting on E but then move my whole hand so when I pluck the G string, my thumb would then rest on the D string. What I don't understand is if I would anchor my thumb on the pickup, how do I know which fingers to use then on alternate strings (one string apart and two strings apart) and how to damp the string in between? I have started using my ring finger for damping on the right hand...but have no understanding of whether this is bad or good in the longer term because it's almost in compensation for not damping properly on the left hand. So to answer your question, I'm shifting my whole hand but not because there are notes in between, purely to try and achieve effective damping. But it's slowing speed down significantly.

[quote name='alexclaber' post='485805' date='May 12 2009, 12:12 PM']My approach is a hybrid one - the thumb rests on the pickups, B, E, A or even D string depending on what the fingers are playing but it doesn't always shift, totally depends on the line being played. I also use my thumb and ring finger to pluck at times, so the only digit that's never used is the little finger. Eg. if playing octaves between A and G string I'd rest on the E. But if playing a line that starts on the A string and then travels up to the G I might shift from E to A as required. It's similar to left hand technique conceptually - do you keep your thumb in the same place and pivot the hand around it to reach a note, or do you shift the hand because the subsequent notes all require that shift? Alex[/quote] Playing octaves between A and G string - here's where my problem with floating thumb manifests because I would pluck the A string with my thumb resting on E but then move my whole hand so when I pluck the G string, my thumb would then rest on the D string. What I don't understand is if I would anchor my thumb on the pickup, how do I know which fingers to use then on alternate strings (one string apart and two strings apart) and how to damp the string in between? I have started using my ring finger for damping on the right hand...but have no understanding of whether this is bad or good in the longer term because it's almost in compensation for not damping properly on the left hand. So to answer your question, I'm shifting my whole hand but not because there are notes in between, purely to try and achieve effective damping. But it's slowing speed down significantly.

[quote name='dlloyd' post='485794' date='May 12 2009, 12:00 PM']Read the article: [url="http://www.adamnitti.com/bass_player_02.shtml"]http://www.adamnitti.com/bass_player_02.shtml[/url][/quote] Apologies, I missed your post...reading now.

[quote name='51m0n' post='485756' date='May 12 2009, 11:26 AM']Playing a faster piece you can get away with LH muting a lot of the noise (esp on Octaves for instance - the LH index finger mutes the string in between the two octaves naturally). Playing a fast run up the strings dont forget that you rh plucking fingers mute the string they land on after plucking too. So there is no need or time for floating.[/quote] Yeah it's floating that is slowing that stuff down. Which is why I am trying to improve my technique with thumb anchored on the pickup. I have found an example of someone that is playing the exact same as me when I describe floating. This is a variant of it but it's not true floating thumb as described by afficionados. [url="http://www.youtube.com/watch?v=u2dxcUIausA"]http://www.youtube.com/watch?v=u2dxcUIausA[/url] But then there is another recording using anchored thumb technique. Take a look here. [url="http://www.youtube.com/watch?v=cIGaL8hQySA&feature=PlayList&p=F8563AD79F431524&playnext=1&playnext_from=PL&index=4"]http://www.youtube.com/watch?v=cIGaL8hQySA...=PL&index=4[/url] Just out of idle curiousity, apart from damping whilst using floating thumb, what's the real advantage of it over using the anchor thumb technique? Is it just economy of motion? [url="http://www.youtube.com/watch?v=cIGaL8hQySA&feature=PlayList&p=F8563AD79F431524&playnext=1&playnext_from=PL&index=4"]http://www.youtube.com/watch?v=cIGaL8hQySA...=PL&index=4[/url] [quote name='51m0n' post='485756' date='May 12 2009, 11:26 AM']Playing slower and floating can keep up fine. And floating makes sense too as you stay in the optimum position that way. Plus the ringing is way more obvious and needs far greater control then.[/quote] Yes - it's deciding when to use which technique but more the fact that I don't want to get too ingrained into one technique at this stage as it's going to be really hard to "unlearn" later. [quote name='51m0n' post='485756' date='May 12 2009, 11:26 AM']Its definitely a mix of all techniques as required for me. I have always prided myself on my very very clean fingerstyle (its not as fast as it used to be by a long margin, but thats cos I no longer have the time). I got there by completely analysing and deconstructing my right and left hand technique and concentrating on playing very slowly and completely staccato, working out what part of which hand was not muting when it could and modifying my technique to add that extra muting. I recommend you do the same. Stop worrying about speed for now.[/quote] I really respect that you have put the time and work into this particular aspect and that you are prepared to share that hard won experience. [quote name='51m0n' post='485756' date='May 12 2009, 11:26 AM']Play a major scale through all 4 strings slowly, completely staccato though, and figure out what rings. Now figure out what could mute it. What else could be muting? Incorporate it into _your_ technique. Chances are that by doing your own very in depth analysis you will find more opportunities for damping than a teacher will. Look at Gary Willis, totally unique technique because he worked it out for himself, anyone else play like that - not much - does it work? hell yes! Check out early Tribal Tech, he is blisteringly fast and clean as a whistle.[/quote] I will. It's hard enough to nail it playing slow but when I look at fast funky stuff, which is where I want to go, that's where it seems almost impossible! [quote name='51m0n' post='485756' date='May 12 2009, 11:26 AM']Since I've been playing a 5 I've had to start the long process of reworking my technique to cover that blasted ringing extra string![/quote] It's so easy to compensate on the 5 by using floating thumb, but it's not a proper fix as it really annihilates speed in fast string crossings!!

[quote name='alexclaber' post='485714' date='May 12 2009, 10:43 AM']Interesting that you should think that - I post in threads where I have something to say, unfortunately you often seem to consider a dissenting view to be a personal attack. Curious...[/quote] Not in the slightest. Just when people like you pile into threads like this, to challenge the poster, not offer a shred of advice. [quote name='alexclaber' post='485714' date='May 12 2009, 10:43 AM']Very hard to be anything else when so little information is provided - one has to fill in the gaps to the best of one's abilities.[/quote] No, you didn't fill in any gaps - you leaped in here with a post about a 911 (which by the way, was sold years ago) and issued an outright challenge. If you really wanted to fill in the gaps, you could ask a simple question and expect a simple answer, or write a PM and ask. Instead, you elect to leap into my threads to personally challenge me - try offering something constructive or at least not boring. [quote name='alexclaber' post='485714' date='May 12 2009, 10:43 AM']What was that about personal pops? Alex[/quote] Well, calling you boring is a fair cop, guv'nor.

[quote name='51m0n' post='485699' date='May 12 2009, 10:34 AM']Only ever seen the MM vid on VHS unfortunately. At work now - when I get a minute I'll dig it out if I can find it and give you the title.[/quote] Great stuff, cheers! [quote name='51m0n' post='485699' date='May 12 2009, 10:34 AM']Sounds like a lot of your issues are to do with not using left and right hand together to damp strings. Do you play 4 or 5 (4 is waaaay easier to sort this out on IMO)?[/quote] Hi - 4. Have tried a few 5s but rather sort my damping issues properly first. [quote name='51m0n' post='485699' date='May 12 2009, 10:34 AM']Left hand fingers should be gently curved and lying on the strings above (ie if you fret a note on the D string then your LH index finger can mute the G). Also I find that the tip of my LH index finger, even when fretting a note, can often just touch the string above and help damp it (so in the above scenario, my LH index finger frets a note on the D, damps the G, and helps damp the A). In the mean time my RH thumb is resting on the A to pluck the D, it is positioned such that the back of the thumb is resting agains the E (often firmly) - completely deadening that string too. Thus all strings are dampened. If you fret a note with your middle finger then your idenx can lie flat behind it dampening even more effectively. Take this to its logical extreme playing slow scales in one position across all strings using all your spare fingers as much as possible on both hands to dampen all the open strings as much as you can. Getting this all coordinated at speed takes A VERY LONG TIME [/quote] Yes, I see exactly what you mean. Great explanation! I hear that resonance sometimes in recordings or when I listen to others play, it muddies the sound a bit. Sounds f*cking terrible when listening to a live band! The problem is, it can be covered up a bit with fast playing in a live situation, or even by finding ways to compensate round it, but would totally destroy the quality in a recording situation. [quote name='51m0n' post='485699' date='May 12 2009, 10:34 AM']The results are very clean though. Slapping cleanly relies on LH dampening even more!!![/quote] My problem is using that floating thumb technique for too long, which is actually quite effective at damping but it's slowing string crossing, isn't great for octaves and is hindering me from being able to switch seamlessly to normal thumb anchored on the pickup style. Really grateful for your advice.

[quote name='steve-soar' post='485685' date='May 12 2009, 10:19 AM']I know, I've got the morning off, so I really should be playing my bass, or working on the arrangement of the song we were doing at rehearsals last night instaed of troll baiting.[/quote] I am not a troll. I have made a perfectly legitimate, genuine post, asking for advice and guidance. If you have the morning off, go and do something constructive, instead of wasting your life away here. I am waiting for software to download and using the time in between to read bass stuff. If you have something constructive to offer me, I'm all ears.

[quote name='alexclaber' post='485681' date='May 12 2009, 10:16 AM']Being a car enthusiast I tend to remember things like this: [url="http://basschat.co.uk/index.php?showtopic=34763&st=20&p=360545&#entry360545"]http://basschat.co.uk/index.php?showtopic=...mp;#entry360545[/url] You can understand my confusion. Alex[/quote] Claber - you leap into so many threads/posts of mine, to take a personal pop at me. Clearly life circumstances/choices never change! You're another one of the assumption brigade, you do it so well. Pity you can't invest your energies where they really matter. You never add anything of any value. You are boring. Earth is full, go home.

[quote name='steve-soar' post='485675' date='May 12 2009, 10:13 AM']Wrong, this was my first reply.[/quote] Oh yes that's right, your constructive advice that permeates all the way through the thread. You're clearly bored. I'm not a troll. If you can't offer something of value in the thread, then please disengage yourself from it. I apologise for calling you a knob.

Hi again Simon Nice to see some great advice in amongst the noise! Answers below: [quote name='51m0n' post='485648' date='May 12 2009, 09:49 AM']Look, what you are talking about (strings ringing, slowness when switching strings) is normal. This is precisely where what I've been talking about (slow right down, concentrate on one tiny aspect and work super hard on that) is what you need to do. You dont need lessons, you dont need someone there to point out what is wrong. You need to be patient. You need to find the exact issue, using the technique I mentioned previously. You need to work slowly but with absolute precision and very gradually speed up.[/quote] OK - I take your point...lessons are not the substitute for me identifying what is going wrong here. [quote name='51m0n' post='485648' date='May 12 2009, 09:49 AM']In this way you will find exercises that you target at exactly your weaknesses. You will build 'muscle memory' and familiarity with a way of doing these things that works for you and solves your problems. There is NO quick fix. No teacher will have a magic bullet or actually tell you anything else other than what I have said. They may have some stock exercises - thats all. Lastly remember that proper damping is always a function of both left and right hand technique. One without the other is never as good. DO NOT TRY AND RUSH THIS!!!!![/quote] OK - I understand. But when I slow down, I hear that ringing..but I just don't know exactly what damping methods to use to kill it. That's the fundamental part of the problem. That's why I thought lessons would help. But I take your point absolutely, there's no magic solution. You deal in hard truths, that's a good thing! [quote name='51m0n' post='485648' date='May 12 2009, 09:49 AM']Can you play the classic one finger per fret exercise at 120 bpm 16th notes cleanly. I bet you cant. I find it damned hard personally. Can you play 1 single note 16th notes cleanly at 120bpm? Can you alternate legato/staccato 16th notes at 120 bpm? How fast can you play 16th notes swung hard? 100bpm? 90bpm? Perfectly?? For a full minute?[/quote] No, you are right...and logic says if I can't do it cleanly at speed, then I need to slow it right down to the point where I can play it totally cleanly. I just need to figure out the best damping technique, because even doing it really slowly, I can still hear resonance from other strings..particularly on recording. It sounds like crap and I need to fix it before I go any further. [quote name='51m0n' post='485648' date='May 12 2009, 09:49 AM']If you want to concentrate on technique, buy an exercise book to record your progress in and a metronome, and treat it like weight training. It will take you about 6 to 9 months in all likelihood, of careful managed exercise to get up to 140bpm swung staccato 16th notes for a full minute. Now try string skipping fifths, now octaves, now ascending scales in thirds, now scales on one string. Blah blah blah blah. You dont need a teacher to come up with exercises like this. They are obvious. You need to start slow. Record you progress in a book, get serious about commiting the time and effort. Dont do more than 15 minutes a day. Stop if you hands hurt or feel uncomfortable.[/quote] Ok, yes, octaves are a particular issue! When you use thumb anchored technique..what is the proper way to cross the strings? What about coming back down? I know about raking but when I rake the strings, how do I stop the one above from ringing??? Even if I try to damp with my left hand, I don't get full damping. [quote name='51m0n' post='485648' date='May 12 2009, 09:49 AM']Warning, the reason so few people get that fast and precise is because it is very hard work, takes a very long time and is incredibly tedious. The reason I mentioned Michael Manring's vid is he ignores music theory in his hand exercises and instead works all the permutations of one finger followed by another. Hence he can play anything in any position.[/quote] No - you're absolutely right. Spot on. I needed to hear this from someone who has teaching experience (which I believe you have). But it's the same with most things, the pursuit of excellence is truly tedious much of the time, but always worth the reward! I suppose I was expecting a tutor to impart some magic wisdom but I now realise the error of my ways! That Michael Manring vid though, have you only ever seen VHS or is there a DVD? I can't find anything that resembles what you described. [quote name='51m0n' post='485648' date='May 12 2009, 09:49 AM']If you arent getting anywhere in a year then you need some one on one guidance. Save £10 a week and you'll have enough for 10 lesson of an hour each with a top teacher. If that happens you didnt do it right...... Good Luck![/quote] OK, I will start again with scales and the metronome. Thanks very much for taking the time and effort to help me with this, it's appreciated!

[quote name='cheddatom' post='485665' date='May 12 2009, 10:05 AM']You're really rude sometimes. He called you a troll after you were rude.[/quote] Complete and utter bollocks. Where was I rude to him (or indeed anyone) before that in this thread - his first post in my thread was to accuse me of being a troll, then have a go at me for asking for help.

[quote name='steve-soar' post='485663' date='May 12 2009, 10:02 AM']That's 2 knobs and a prick so far, any advance?[/quote] Well, you did leap into my polite thread, asking for a bit of help, to accuse me of being a troll and then a dimwit. What did you expect, hugs and cookies?