Hector

Bought an EHX Freeze from Kevin. Even though he was really ill, he still managed to get it sent straight away special delivery (he even got his brother to do it). He was also very helpful tracking it down when Royal Mail got confused. Thanks again!

Just sold my SR605 to John. He made every aspect of the transaction easy, with prompt payment and good communication. He was patient enough to wait a week or so while the dust from the holiday season settled, and I got into the swing of things in a new job. So, don't hesitate to buy/sell - he's one of the good ones!

Assuming you're talking about pizz? And walking or soloing? It's a mixture of things. Most of it comes from RELAXING. Physically, you can't play fast unless you can be very relaxed playing slow. Left hand wise this is really important. Right hand wise - go for 2 finger approach if you need to. Practise string crossings, as well as playing on a single string. Again, very precise slow technique is the way forwards. If you are using 2 finger, you must try to get an even sound between them. You may find you have to lighten up for attack slightly on the fast tunes. Mentally, you need to relax as well - people tend to tense up at tempos they find hard, which makes them more difficult so keep an eye on that. Don't try so hard! Some people tend to feel the pulse in entire bars, so if walking try playing 16ths at 65bpm (which works out to quarters at 260) and seeing if that helps you feel more relaxed. You also need your ears to hear that fast, so if you're walking then make sure you know the tune really well. Have a lot of vocabulary ingrained to help you out. Listen to lots of tunes played at faster tempos. Playing fast is simple on the one hand because it's just the same as playing slow but a bit faster. On the other hand, it requires lots of aspects of your musicianship to be together. Keep shedding away at it - it doesn't happen overnight and requires repeated practise to get comfortable at it.

Anyone else planning on going this Sunday? http://www.rcm.ac.uk/events/listings/details/?id=1236569

Charles Bradley's version of changes is absolutely incredible.

Haha gotcha.

[quote name='The Jaywalker' timestamp='1507219165' post='3384021'] Ah! Some guy (who isnt much of a player) plays a small novelty bass in a novelty band...evidently 2 centuries of pedagogy and received wisdom is suddenly undone...what were we thinking... But seriously, WTAF is it with this "each-to-their-own-and-nobody-should-tell-anyone-anything's-wrong" BS ?!? [/quote] I'm almost afraid to tell you how I play: - a right handed instrument left-handed, without restringing. - use all 4 fingers of my right (fretting) hand in all positions - pizz with my pinky and ring finger together, anchoring on the string below with my index and middle My rockabilly/psychobilly band is getting a lot of fans and doing well on the local pub circuit. So who cares if I play a little unconventionally?

So a 5 string offers you a few notes below the E, that's one (relatively insignificant) aspect of what it does. Much more important is the fact that it means you can [b]play more notes in a single position.[/b] Do you know your 5 positions for the major scale? (https://www.cyberfretbass.com/scales/major/page4.php )Because what you want to do is learn them very solidly, as this is the area that the 5 string excels in. If you don't know them, PM me and we can skype or something Basically, you want to move your hand much less when changing between keys, and very little when staying in the same key. This takes a bit of practice, but it'll get you mega comfortable anywhere on the neck. I would recommend working on the book 'Serious Electric Bass' by Joel Di Bartolo. There's a chapter in there on the 5 major scale positions, and lots of exercises. You can play entire chord progressions in a single key without moving your hand, and once you get comfortable with these 5 positions [i]in every key[/i] you can practise moving between keys.

[quote name='petebassist' timestamp='1499341604' post='3330837'] I tried out my new Lifeline pickup the other night (fitted on the E string side) into the band PA via a KK Pure Preamp. It seemed slightly boomy at times and if I upped the mid and treble [/quote] Better to cut frequencies than add (whenever possible). If it's too boomy take out some of the lows. Either EQ on amp, or if that doesn't do the trick some sort of HPF as mentioned.

Ok, since Adam Wood appears to have signed some sort of NDA with Janek, here's my best guess as to what the exercise is, in case anyone else is interested: Example is a G major to Ab minor arpeggio. The convention is Note, String, Finger. Haven't got a bass to hand so hope there's no mistakes. This is just my way of playing it. (The major arpeggio bit) G E 2 B A 1 D A 4 G D 2 B G 1 D G 4 (Now descending minor arpeggio bit) Eb G 3 B D 4 Ab D 1 Eb A 3 B E 4 Ab E 1 You're then set up to play an A with your second finger, restarting the pattern playing Amaj to Bbmin. It's a neat little warmup, could take you all the way up the neck. For improv/jazz bods, it's useful when playing over altered chords - G alt is just Ab melodic minor over G, so you could go up a G major arp followed by an Ab minor arp to really clearly outline that sound.

Sounds a bit like that diminished arp to minor arp thing he has in All The Good Stuff - that it?