TheLowDown

It does sound a little bland to me, somewhat overpolished. It reminds me of Pink Floyd post Roger Waters, where it feels like they're making music as a 9-5 job that they hate but they're only doing it to fulfil a contract.

Playing bass doesn't call for being flash and doing awesome solos to impress, it's more about "providing a comfy armchair for the music to sit in"(I heard that quote from someone and thought it was apt). I agree that the issue here is about ego and not really understanding about what makes a cohesive band. *I do play fretless sometimes when jamming to chord charts or playing in the dark, but only as a way to train my unruly ears.

I fell out of love with rock in general when I first started playing the bass. I still occasionally listen to random rock stations but mostly just to see what's out there, but it's usually a short lived affair.

Reading music and theory are my strong points, it's my ears that are pants.

I prefer narrow spacing at the bridge. I wouldn't want to play anything that is less than 45mm at the nut and 17-17.5mm at the bridge. Narrow string spacing is the most attractive feature of the 5 and 6 string fro me.

Yes, it's a learning opportunity. Makes you more fluid and adaptable as a band and as players. It's like why some footie teams often play with 10 men when training. Limitation leads to creativity and all that.

Oddly, that's one of the only ones I don't like. Love all of the rest. JD are one of my fave bands of all time, but I have to agree that, technically, they were very average. But when you put them all together they make something special. For me the saving grace song would have to be Bela Lugosi's Dead by Bauhaus. I never warmed to any of their other stuff, but that one song I still love.

Something unusual or memorable like Plucked Chicken Frenzy, or something

I think it's because there are are twice as many intervals to identify in the tests that I do. I'm testing myself on all intervals between unison and octave, whereas I'm only testing myself on 6 common chord progressions. Some intervals are instantly identifiable, such as diminished 5th, whereas some can prove more difficult. I'm also supplementing this with ear training on the bass, fretted and fretless. I think you're going about it the right way by transcribing and other things. Keep it up 👍

I'm pretty low down actually. When I do ear training for intervals, I keep it in the key of C so that I have some consistent baseline. The idea being that when I've learnt to hear the 'character' of the interval within the key then I can much more easily generalise it to any key. Still a long way off yet, but it's always best to work at one's long term weaknesses. For chord progressions I'm a lot better. I've tried singing pitches with the idea that I can internalise those sounds, but unfortunately I find it very difficult to differentiate croaks that are wildly off pitch. So that was the end of that.

I love jazz and listen to it frequently, but Scott's examples seems to be more about highlighting soloists showing off their technique, rather than highlighting solos where the music is the point. They weren't all like that of course, but the general gist of it is "Hey guys, now look at this guy soloing while standing on his head with 3 picks using every single mode". That's fantastic and it's great that he has learnt his chops enough to carry off such a feat, but it's not necessarily good music, which I think should have been the point. In other words why was it a good solo, rather than hey look at this guys technique.

Wonder if their financial troubles are related to the class action lawsuit against them for price fixing. I'm happy to let other people buy their instruments.

Scott Devine did a video on "good solos" where many were really bad! (some were tasteful) I can't believe someone as talented as Scott would genuinely believe trying to fit in 50 notes every second makes anything other than showmanship, as opposed to music. His premise for the video seems to be more on stretching technique to the limits, like extreme finger raking, than on making music.

I only keep out the ones that I actually use, and the rest go in their cases. I'm hoping one day there will only 1 corner occupied.

I lean mine each in a different corner of the room.

That bassist and this drummer would form an awesome rhythm section.

It would be either A or F#m as A is the relative major of F#m. I would go along with F#. You could approach from above which would lead smoothly in the direction of C#. Hence: D(1) E(1) D(1) A(5) F#(3) F(Chr) E(1) The "F" being a chromatic note. The scale degree is in brackets. G(4) would probably be better on beat 2 rather than A(5) as it would sound smoother and it doesn't necessarily have to be a chord tone

It's easy to rectify with something like this https://www.ebay.co.uk/itm/175354318755

Often what's being quoted is the weight including packaging.

It would be fine if his decision to be lax doesn't impact on anyone else, but it does. So I don't think you're being unrealistic.

You could buy cheap(about £13) 6 string sets such as the HQS from Harley Benton and then keep the B string in case you ever decide to make the switch to B-G.

I think it would only be likely with more than 10,000 hours of deliberate practice, but that's a loooooong time to maintain that level of hyper focus. 10,000 hours playing slap over and over wouldn't get me far with learning to play the bass.

Was looking for a 30inch SS with 38mm neck, and found the SIre U5 that I'm really pleased with. plays like a champ. Guitar bags will do fine and they're a lot more common and cheaper.

I find it useful to use these shapes for playing pentatonic. If someone is playing in C minor using the minor pentatonic scale (or C major using the major pentatonic, even though many people use them for either major or minor keys), then you can play the standard minor pentatonic shape outlined in purple when using C as the root. This is the same shape as the 6th degree of the major pentatonic scale. Or you can play any of the other alternatives because they're all using exactly the same notes, but just starting on a different scale degree of the major/minor pentatonic scale: ---on the 3rd degree(E flat) of the minor pentatonic outlined here in magenta. This is the same shape as the 1st degree of the major pentatonic. ---on the 4th degree(F) of the minor pentatonic outlined here in yellow. This is the same shape as the 2nd degree of the major pentatonic. ---on the 5th degree(G) of the minor pentatonic outlined here in cyan. This is the same shape as the 3rd degree of the major pentatonic. ---on the 7th degree(B flat) of the minor pentatonic outlined here in green. This is the same shape as the 5th degree of the major pentatonic. It's basically just making use of the modes to give some variety to solos/fills. Eg. the shape outlined in yellow is the dorian scale shape without the 3rd(ie 4th of the major pentatonic and 6th of the minor pentatonic) and 6th(7th of major and 2nd of minor). I'm not a soloing guy, but i mess about when I'm jamming to drum loops for fun and hearing what riffs sound good. Minor pentatonic 'family' Major pentatonic 'family' The same applies to the major and minor blues scale too. Just add the blue note(s) to each one.

Sad news, wishing him well. I've still got some signed CDs of his solo work from when I bought them on CDbaby in the early 2000s somewhere up the loft. I remember lots of doodles of cats and things on there.