risingson

If you're struggling and want to keep the exact bass part then I'm sure there's someone on YT who's nailed it note for note. Failing that, do your own thing! It's a great bass line, but the solo is anything and everything between E, D and A.

Fairly certain the solo was tongue-in-cheek, needless to say it was bloody terrible though.

Not a wonderful attitude to be bringing to a new band, if you want to be continuing to play with bands in the future then you've got to have the ability to compromise, that's pretty much rule one. And aside from that, I'd stop using tabs from the internet, they're hassle and not worth your time. Get your ears together and then transposing songs to different keys will stop being an issue at all, even if Green Onions got put up to Ab.

There's no way bass is disappearing from pop music.

I don't deny the entertainment appeal of the X-Factor, but it does represent a part of the music industry and TV that I truly, truly loathe. I hate the way it gives the appearance that something can be gained from doing nothing at all, I hate the way it conveys a sense that largely talentlessness individuals can be offered careers (most often fleeting) when other far superior songwriters, singers and musicians should be offered the opportunities instead. It seems terribly unjust and somehow, and yet it gets dressed up as harmless Saturday night TV and accepted. I think Gary Barlow is a drab songwriter, I think the rest of the panel are devoid of talent, I think Cowell has an unhealthy stranglehold on music and I think the fact that we offer this kind of thing to young aspiring musicians is damaging. It's a money-spinner and every time I hear about it which I inevitably do through either the media, family or friends, I can't help feeling incredibly angered by it.

[quote name='Happy Jack' timestamp='1352632625' post='1865284'] A truly superb bassline, also one of my favourites. But George Harrison (who wrote the song, of course) thought it was "too busy". [/quote] I think that it had got to a stage where they were all suspicious of each other's motives when playing for each other's songs. I think it's a masterpiece!

[quote name='flyfisher' timestamp='1352576864' post='1864875'] Exactly. Trouble is, some people confuse not liking something with it being rubbish. Never mind. [/quote] It crops up a lot round these parts unfortunately! I recently got to record a load of Paul's parts for a symphony orchestra in Sweden, 'Martha My Dear' amazed me the way the bass part is superbly crafted around the orchestration, the doubling with the cello parts is a stroke of genius. I don't think there can be much doubt that Macca was a really thoughtful and incredibly musical bass player, he's certainly inspired me to look at the way I come up with bass parts. My favourite is still 'Something', I often struggle to sum up what I'd consider to be a near perfect bass part but that is almost certainly one of them. [quote name='S9_S12_Bass' timestamp='1352592667' post='1865060'] Sorry I mean the VI - heres a link to wiki if thats allowed.......[url="http://en.wikipedia.org/wiki/Fender_Bass_VI"]http://en.wikipedia..../Fender_Bass_VI[/url] My understanding is it's essentially a guitar that sounds like a bass but sized like a guitar............. [/quote] It's essentially a baritone guitar, John and George often recorded bass parts with it, although George was far more adept with one than John was.

[quote name='bubinga5' timestamp='1352576573' post='1864870'] imo.. i still think an SR5 H has a very specific sound... not versatile imo. you may be able to change the eq but it will still sound like an SR5.. . but what it does it does so well.. super fat focused tone with that awsome subtle growl... [/quote] I'll reserve judgement on the lack of versatility until I've properly gigged it, but the signs certainly aren't pointing in that direction at all. One pickup certainly, but a three band EQ and a decent coil tap system which I think is brilliant and I'm convinced that I can get a lot of places with it. It'll certainly never sound like a P-Bass for example, but then that's why I've got a P-Bass as well!

[quote name='chris_b' timestamp='1352562070' post='1864659'] That's not really surprising. A cheap bass won't be nice to play no matter how many strings it's got. In the summer I had a "[i]5 strings are not my thing[/i]" player try out my Lull PJ5. His comment was, "Maybe I've been playing the wrong 5 string basses". [/quote] It's early to be after anything considering my new purchase but I badly want a Mike Lull P5 now. They look and sound phenomenal.

[quote name='LeftyJ' timestamp='1352573053' post='1864813'] OK, then I think my SR5 suits me best the way it is now. I play in a modern female-fronted metal band and prefer an agressive and tight tone with a slight midscoop and sharp attack, and my SR5 works great for that [/quote] To be honest, any Stingray is good for that. Trying to get a Ray to sound scooped and attack-like is like shooting fish in a barrel. I try and keep my sound focused in the mids.

Are they not heading for a lawsuit with that Fender logo?

[quote name='Ashwood1985' timestamp='1352489960' post='1863872'] What kind(s) of music is that dude? I ask as I'm now 5less after trading my streamer so will, at some point, be looking for a good 5 string to keep ready for when 'needed' and the SR5 is something that I loved when trying in a store but I'm not 100% sure about their use across different genres: I would want to be able to get a warm, round fat tone when desired from my 5 (no 'edge'). [/quote] The long answer is quite a lot. I play a lot of rock with my band, but i wanted a 5 string that could cover a lot of areas as I find myself playing with quite a few artists and I think the Stingray does a much better job than you'd expect it to do. There is an 'edge' to the sound of the bass (it's the pickup and pickup placement + preamp, the classic Stingray sound) but the sizzle in the top end can be combatted pretty effectively by just rolling back on the treble and boosting the lows and maybe even the mids a touch. The coil tap also provides a number of opportunities, parallel will get you the classic Stingray sound, series provides you with a nice thick chunky kind of sound and on the newer Stingrays (from 2008 on I think) there's a 'series filter' tap in the middle position which supposedly filters out a bit of the top end to give you less of a sharp edge to your tone. The older models had a single coil mode. There isn't really a lot that the bass can't cater for across the board!

Congrats, sounds like a lovely gig to have!

Gus sorted me with an exceptionally fresh, virtually new looking Stingray 5 string, one of the basses I've been keen to get hold of for years. He travelled well out his way to get the bass to me and was a pleasure to chat with and indeed to trade with! Cheers matey!

[quote name='clashcityrocker' timestamp='1352480264' post='1863684'] Seems there is a trend emerging here.... So all you 5 string converts,any temptation for 6 string,as if one string made you convert surely 2 extra is the way forward?! [/quote] I don't need the high C. The left-hand positioning aspect of having a low B is handy because even if you rarely use the lower string it does help connect up passages and fills without knowing that you're about to run out of frets low down. The high C would be handy in the same kind of way but I don't consider it as important for what I do, so I'll probably always hold off from buying a 6 string. Aesthetically I might also feel like I'd crossed a line

[quote name='LeftyJ' timestamp='1352470380' post='1863493'] Cool! Can you elaborate a little about the sonic differences? I have a 2003/2004 model so I guess it must be ceramic too? How do the two compare? [/quote] The alnico magnets were the ones that go in the original Stingray 4's. They started off putting in alnico pickups in the Stingray 5's when production started on them in 1988, but swapped to ceramic a few years later. The ceramics apparently give the bass a grittier, harsher tone but with the Ray preamp in there the difference to my ears is negligible. Ceramic magnets are cheaper to manufacture too apparently. [quote name='chris_b' timestamp='1352472138' post='1863530'] I didn't really enjoy playing my SR5 very much, but I've heard others getting a great sound out of theirs. [/quote] My concern with a Stingray was that I would struggle to find a place sonically for it with the kind of music I play but so far it's not proved to be an issue. Already done a bit of recording with it this morning, sounds great.

Just bought a Stingray 5 from our very own Gusto. Only had it a few hours but it's reminded me why I should have bought one of these things a while ago, it's an absolute beast. Looking forward to trying to dispel the idea that Stingrays are one trick ponies as well, something tells me that this 3-band EQ and three-way selector switch is going to give me everything I need from a good 5 string! Very happy, really looking forward to gigging it with my TC RH750 rig, it's going to be huge

Some Donnie Hathaway if they really know their stuff would be a good shout! Willie Weeks's stuff is mind-blowing. [quote name='JTUK' timestamp='1352324352' post='1861806'] Pick 2 or 3 tracks which YOU can really groove to... and if they don't work, you'll not want to join them. If they do work...job done. Stay away from the cliches.... everyone will do them..and that doesn't make you stand-out.. [/quote] +1 to this.

Welcome mate lovely selection of basses and amps you've got there.

Just had a listen to the Soundgarden clip. Don't get what was particularly wrong with the P-Bass, it was just your average run of the mill driven P sound, it suited what they were doing. P-Basses don't sound naturally mid-scooped at all to me. They have a low-middish presence that's hard to get away from for me in a studio and live environment, it's not something I consider a bad thing at all but I pick and choose when I use one for recording for this reason. Works for some stuff, not for other stuff. What I really love is a P-Bass with fresh roundwounds for out and out rock stuff, they have a really forward, almost piano-like sustain to the note, especially when played with a pick.

[quote name='Roland Rock' timestamp='1352294682' post='1861170'] My ears don't agree with that fact [/quote] Nor mine! The opposite to some extent in fact. I didn't see the show so I can't really comment, I did catch one of my old friends from Uni singing acapella with her band The Staves though, that was excellent.

[quote name='Machines' timestamp='1352146237' post='1859417'] Haven't they missed the boat on overpriced Fender copies ? Sadowsky have been experts on this for some time. [/quote] Ouch!

[quote name='RambleOn' timestamp='1352135665' post='1859199'] Thanks. Hotwires don´t seem to be what I'm looking for, maybe DR Flats?? [/quote] What are you looking for? I was totally unaware DR even made flats. If you're looking for lower tension then get the TI's, I don't think you can go wrong.

Tried one of these a while back, it was really quite outstanding, the sound out of it was massive. Agree with BRX that the headstock getting slapped on every Warwick regardless of ergonomics and overall design is incredibly annoying though.

Do you have to read music? Short answer no. Longer answer, no but it helps in a lot of situations, including broadening your musical horizons even outside the notation you end up learning from. You'll find learning to read most effective if you develop it alongside a strong set of ears! This is a topic that's been covered quite a few times before, whilst most people will be fine to offer advice (including myself), a search might be handy to see some of the answers that members have given to this question in the past. I would add that anything that broadens your musical horizon will have a positive effect on you as a musician, even if you consider reading to be a redundant format for the music that you perform.