risingson

I like them, obviously their output hasn't been that significant for the past 10 or 12 years due to their breaking up, but they had some great tracks. Bring It Back came on the radio the other day, reminded me that not all house music coming out at that time lacked intelligence and good songwriting.

It was incredible tonight. Going to see a band like that is totally inspiring, there's a lot of sh*t music out there these days but there really is something quite incredible about the way Thom Yorke pieces together songs together in such a masterful way. He reminded me a lot tonight of John Lennon in many ways. Great gig

My favourite band probably. Seen them before and they were excellent, during their In Rainbows tour. Colin Greenwood is a very capable bass player who's come up with some very solid bass parts but if for some reason you've been living under a rock for the past 15 years, check out Paranoid Android for a lovely bass interlude that he makes work so well in 7/8!

Don't ever expect anyone to pay any attention to who your instrument is made by. Count yourself lucky someone at least enquired!

[quote name='flyfisher' timestamp='1349470699' post='1826917'] Wasn't it Lennon who said that Ringo wasn't the best drummer in The Beatles? [/quote] He later went on to say he was one of the best drummers of all time! Ringo was a really great drummer. To the OP, drums, guitar, keyboards, trombone, glockenspiel, it doesn't matter what instrument you take up, if you feel you have the time then there should be no reason at all why you shouldn't take up the drums. Obviously spending as much time being close to the drummer as you probably have playing in a band should give you a vague idea about the physicality and dexterity involved in playing. Just do it, there's no limit on the amount of instruments you can and can't play.

What an incredible talent that guy is.

Numerous lines were crossed in the recording of that cover I'm afraid!

Hi Ash, I've only just seen this post, I'm thrilled to see you getting on so well with my old Selmer. The P-Bass is getting its first outing on Sunday night as well, I'm using it in conjunction with some Roland MIDI pedals to double up some synthy type sounds. Glad to see the upright is getting the gigs!

Man, I'm so jealous! But what a great way of keeping your father's memory alive I'm a sucker for Fender's 60's custom block colours. My favourites are Shoreline Gold, Sonic and Daphne Blue, Surf Green and Fiesta Red. Got to love Olympic White with a Rosewood pickguard too but there's a lot of them around at the moment. For me, it would be a maple fretboard and an ash body, a la the MV line. Matching headstocks with these colours just look killer as well. Really looking forward to seeing the pics whatever you decide on!

[quote name='Lfalex v1.1' timestamp='1349283492' post='1824301'] So here's a mention for Eric Avery (in case I forgot him earlier!) [/quote] Chris Chaney played with Jane's Addiction as well didn't he? Phenomenal bass player!

The issue sometimes with keys players is that they can fill a lot of space, especially with Rhodes-style sounds that really tend to thicken out in the low end. As long as there is a good spacial awareness with every player in a band then it is a problem that can quite easily be overcome. The thing to remember is that we don't just occupy one bit of low end as bassists, we can overlap with guitarists and keyboard players as well.

My personal feelings about tablature aside, I think it's a bit OTT for publishers and owners to be so heavy-handed with these types of sites. There are much worse things going on out there with regards to copyright infringement than dealing with tab sites, it's just finding that line.

I doubt I'll ever get rid of my Lakland DJ anytime soon but I've not found anything that I can honestly say that I would never part with. Instruments matter a lot to me and I'd like to seek out a classic Fender P or J next that I'll never get rid of, a bit like what Clarky described in his post.

I like this as well, mental 'behind the iron curtain' sustain and clank!

[quote name='Big_Stu' timestamp='1348854772' post='1819237'] Amazing! Thank you so much for sharing! While to my shame I know very little about the band, though I never fail to love listening to them; I do remember watching a drama-doc about the Beach Boys and it seemed to link the drying up of the Smile sessions with Brian's first hearing of Sergeant Pepper? [/quote] That's right Stu, Brian lost the plot after hearing Sgt. Peppers with the mindset that nothing could ever top the sheer achievement of it. I suspect his mind wasn't all there either!

[quote name='4 Strings' timestamp='1348848423' post='1819120'] Great quote, thanks. The Beatles had George Martin to do the 'music' stuff (for example Eleanor Rigby - fab!) whereas, assuming Wilson did the scoring, it was just him, no partner to test ideas etc. [/quote] I don't think either George Martin or McCartney's ability to arrange can be underestimated. They likewise inspired each other, GM certainly had the classical training but McCartney had the ears and ideas that paired perfectly. Comparing the Beach Boys and The Beatles is apples/oranges. They drove each other on so much, and in their attempts to draw influence from each other they kept upping their games until Brian ultimately crashed out.

Floating anchor and floating thumb depending on how and what I play, it's usually the former though.

Our drummer just built one, I'd recommend it doing the same to save a bit of money!

Are they available for weddings?

I can only really applaud Muse for trying something new like this. It's at the least interesting. The bass is totally mad!

[quote name='spinynorman' timestamp='1348611939' post='1816111'] When I first took up bass I read a thread on a forum (not this one) where someone had been to see some hotshot bassist and reported "it was great, he didn't play a root note all night". Down the years I've sometimes wondered if that was actually a good thing. [/quote] That sounds like 1.) my idea of a nightmare and 2.) like the guy talking had probably disappeared up his own arse!

Restrung my P-Bass with flats, it sounds... like it's got flats on again! Wonderful, big round sound that fills out lovely in a band setting. Also got the new masters of our new EP through, so I'm excited to get it all released so people can hear it.

[quote name='jakenewmanbass' timestamp='1348580531' post='1815466'] If you can play root and fifth in all it's permutations, still serve the song, and keep it interesting then you are worthy of some of the best bass playing jobs on earth... If you can't then I would suggest that your quest to play other notes is a little early. Be f***ing awesome with root and fifth before you decide to move on... (I am being deadly serious) [/quote] Absolutely, I wish I'd been astute enough to have said this.

[quote name='Dr M' timestamp='1348575536' post='1815367'] Ah, so the sound on the record is actually a synth? Been a while since I've listened to it, but in that case I'm impressed by whoever played that synth. Not easy to imitate hammer-ons and slides on a keyboard. [/quote] Aye, it was Toby Smith on keys at that stage still, very talented, also played synth bass on 'Canned Heat'. Fallings out were had with Stuart Zender and he left (or was chucked out of?) the band. The original bass parts are floating around out there, I got to hear them a couple of years ago I think but I can't remember what they were like.

Worth learning your chordal notes and which ones sound stronger than others. Playing a C in the key of Gmaj isn't a strong candidate and will sound unusual if played out of context (the key word, as perhaps in some cases the C may very well work). B and D (the major 3rd and 5th respectively) are stronger candidates, especially your B but remember, if everyone else in the band is working on a G major chord then playing a B under it all is going to change the chord to a G/B (G on a , which will alter the sound of the rest of the band. Don't fear root notes, try and develop the ability to play between the changes tastefully and without detracting from the song with what you're playing. No one is going to notice if you're getting root notes right, but people will certainly notice if you're throwing in notes that don't work against the chord.