Wylie

[quote name='White Cloud' timestamp='1370550763' post='2102685'] Eh, no. [/quote] Me, too.

I'm sticking with my bass dulcimer. Lighter.

[quote name='project_c' timestamp='1366737296' post='2056669'] I need a bit of input from you guys about practising II-V-I's. I want to start practising everything in all 12 keys, and am wondering how you go about doing this in the context of a II-V-I excercise. Do you improvise all the way through, or do you learn specific lines, and practise them over all 12 keys to get them into your brain / muscle memory etc? (If you've been playing for 30 years, you will probably improvise, but think back to a time when you still needed to study this stuff). I read somewhere on a jazz blog that a good way to expand one's vocabulary is to learn specific lines relating to specific changes, and then run them over all keys until you've memorised them. The blog suggested learning about 10 different ways to approach a set of changes, and then practising them over all 12 keys. Is there such a thing as a '10 most common basslines' over a II-V-I? I know the answer is in the music, I listen to a lot of jazz standards, but the variety of tunes, and interpretations of tunes is bewildering, and from a jazz outsider's point of view, it's difficult to know what tunes, and what basslines within those tunes, one should prioritise and study.. [/quote] I have been running the ii-V-I by playing through various modal scales associated with the home key throughout the run of measures. For example, if the I chord/key is Gmaj, I might explore using A Dorian or B Phyrgian to play over the changes to its resolution. I haven't found that memorization of specific runs helps me much. The great thing about the modal scales is their interconnected nature, which makes improvisation easy (once you're got the modal scale patterns down, which doesn't take long). You can also improvise over the third, fifth or seventh of the I chord/key. Regarding music to listen to or play with, because my group gets together so seldom, I have bought some download play-alongs from PlayJazzNow.com; one that they offer features a series of ii-V-I progressions, played fairly slowly. These are designed for horn players, for the most part, but you can turn the bass down and play along with the comping. These are very helpful, and quite cheap. W.

It's too silly.

[quote name='Jono Bolton' timestamp='1366790921' post='2057246'] In most cases it's a new pickup, bridge or scratchplate, but are any of these really upgrades? ... Surely if a prospective buyer didn't want those "upgrades", then it can't be considered to be so? [/quote] A DiMarzio pickup upgrade definitely counts, but of course it depends on what it replaces: I put DiMarzios on my Squier, and the difference was tremendous. And if a prospective buyer didn't want such an upgrade ... why wouldn't he? Of course, if he wanted stock, he could buy a stock Squier ...

The D'addario Half Rounds I used sounded pretty much like flats; I couldn't detect a tone of both flat and wound. But the feel was scratchy, as if they had been unevenly machined. Nicely priced, but I wouldn't recommend them. I use roundwounds only now, and when I want a thicker or heavier tone, I play at the end of the fretboard -- it makes a noticeable difference in tone.

[quote name='TheBear' timestamp='1361640239' post='1988712'] Hi guys, I (pretend to) play the bass since few years, played in few bands (learning songs with TAB mostly) and now, I want to *really* be able (eventually) to play bass guitar. And here i'm struggling I'm trying to find some logically built "learning program" but could not find anything satfisfying. I therefore turn myself to you guys: Who has advices / training program / progression that could help me to *really* progress and *really* master the bass. I'm planning on a 45min base on weekdays and a bit more on week-ends depending on available free time. thanks, Chris [/quote] Books are good, but only as far as they go: you can't ask a book a question. Find a teacher. A good teacher will take you from the beginning in a way that a book can't, and will help you understand what you are doing as you progress. W.

DiMarzio Jazz. Less expensive than some, with great, stunning tone. Totally transformed my old Squier.

[quote name='Evil Undead' timestamp='1363810152' post='2018089'] Urgh. I'm getting so tired of all this. Due to my various physical limitations, I must have tried nearly 30 basses over the past 4 years, and I think I'm no closer to finding what I actually want. It's not tone that's the problem - basically every bass I play sounds like me playing it. But comfort wise, I'm really having trouble. I've got a totally knackered back, meaning any bass over 8.5lbs is a total no-go. My hands are small so I'm having trouble with the neck of my P. Shoulder is a bit dodgy so anything that neck dives is out. Great big cyst in my right wrist joint and subsequent issues with bending it makes slab bodies out. Recurring tendonitis, means my action needs to be less than 2mm with a dead straight neck. And finally, a previously torn and ill-repaired ligament in my left wrist means I have pain when playing anything below 3rd fret. I'm just about ready to throw in the towel and sell everything up, but before I do, does anyone have any ideas what basses I could try that might suit me? [/quote] This has been said, but try looking here: http://www.voxshowroom.com/northcoast/shopping/index.htm The Hofner China-made violin bass and club bass are around $850, short-scale, light weight. (The German-made versions are three times as expensive.) This is about as small and light as you will find. North Coast Music is in USA, but the owner is personable and responsive. I'd give him a try. Good luck! W.

[quote name='cocco' timestamp='1363904965' post='2019452'] Exactly what happened to me. [/quote] The slippery slope!!!

[quote name='Lozz196' timestamp='1363888175' post='2019014'] Being somewhat the same type of player, I find flats (Chromes mainly) are fine when in the mix, as I don`t really notice the lack of bite. It`s only when the bass is played on its own I find them lacking in comparison to rounds. That said, I just can`t get on with the feel of them - after years of using Roto Rounds, I can`t handle not having that rough abrasive feel under my fingers. I have however switched to Nickels as I liked the way flats sat in the mix, and nickel rounds have a more flat-like tone than steels. [/quote] Exactly. I love the sound of flats, but the range of sounds with rounds is hard to beat. By just playing at the end of the fretboard I can get a fatter sound, if that's wanted; but nothing bites so satisfyingly as nickel rounds.

I had to replace a plate on my Japanese-made Geddy Lee and discovered when I looked for one that there is often a small difference in plates you might assume would be standard sizes. Many of them are not; and of course the fit has to be exact.

[quote name='RandomBass' timestamp='1341383870' post='1717897'] So who here just has one of each of the above that they use for practise, gigs etc? To start, I have 4 basses and 3 heads, but just 1 cab. I remember fondly when I had one of each when I started out - has anyone stayed that way, whether it be out of desire or necessity? Just curious really.... Cheers Geoff [/quote] Just the one bass (Geddy Lee Japan), Carvin 250-watt Micro Bass (the name belies the amp's power), and a Schroeder 2x10 from his Punch Line series. This is all I need for gigs with my trio of violin, keyboards and bass.

[quote name='Dr M' timestamp='1363276770' post='2010915'] I love the look and feel of Jazz basses - the offset waist and skinny neck tick all the right boxes for me. I currently own a (now discontinued) Squier Standard Jazz (2006, I believe) in red sunburst. This was my first bass after many years playing guitar. I have two problems with this bass. The first is the tone. Basically, the Squier pickups are awful - easy to change, but problem number two is making me wonder whether that's worth doing. It weighs a ton. I know Jazzes aren't often very light, but a two-hour rehearsal with this one, and my back and shoulder are aching, and then I've got to carry the thing home. I'm already using a 2.5" leather strap, so not a great deal more I can do on that front. I'm not sure whether to flog the Squier and go on the hunt for a new Jazz, or to slap some new pickups in it and spend some time in the gym . I don't know about the quality of the woods, but weight aside, the build quality on the old Standard series seems to be pretty good. I have a feeling I might have to spend a fair amount more to get any significant improvement. [/quote] I put DiMarzio pickups on my Squier; made a tremendous difference. Don't know what to say about the weight problem. W.

[quote name='mentalextra' timestamp='1354995377' post='1892846'] Basically as the title says. Do you keep it on the down low, or have you acquired superhero status. Also, do you cringe when someone fetches guitar hero into work for a laugh! [/quote] Yes; and most of them look at me as if they feel sorry for me for not playing a 'real' instrument. Obviously I need either new work mates or a different instrument.

Schroeder 2x10 (Punch Line series), 36 pounds. Nice massive low end, powered by a Carvin 250-watt Microbass. The pair of ten-inch speakers in a roomy but light cabinet deliver a whole different level of tone than my former Schroeder 1x12--which was a fabulous speaker. There just isn't any comparison.

[quote name='D.I. Joe' timestamp='1362952460' post='2006764'] Fenders are generally only as boring as the person playing them. This... well... it's not my bag really [/quote] Plus one.

[quote name='wateroftyne' timestamp='1362852810' post='2005409'] Carol Kaye played bass on every song EVER. True fact. [/quote] That's right. And she also played on all the others. Just ask her, and she will tell you, in twenty thousand words. W.

[quote name='xilddx' timestamp='1362403189' post='1999176'] I like this post [/quote] Me too! Thanks, Gonzo. W.

Geddy Lee Jazz, CIJ. Never played anything that felt better, sounded better, looked better.

[quote name='Big_Stu' timestamp='1362700214' post='2003738'] I'm currently reading, on & off, Keith's "Life" auto-biog. So far I'm up to where Brian's started to big himself up & had to be covered in the studio & some gigs. I've noticed already there's been very little mention of Bill, apart from his first joining. Is this a deliberate snub, or did BW really play a small part in the band history? [/quote] According to BW in his autobiography, [i]Stone Alone[/i], he was never really 'in' with the Stones, especially after Mick & Keith tightened up control and Brian was out. Wyman and Watts were apparently pretty good friends, being somewhat alike in temperament. But another factor was that Wyman was about eight years older than the others, and at the beginning (and as a married man), this made a difference. As bass player, he seems to have been just a secondary Stone in most ways. And as another poster noted here, he never did much that anyone especially remembers. One of the Stones' most memorable bass lines, at the beginning of 'Live with Me,' was written by Keith.

[quote name='Highfox' timestamp='1362051332' post='1994942'] I remember reading somewhere that Bill found it uncomfortable playing full size basses. Not sure if that's really true or not? [/quote] Don't know, but he also played a Mustang bass.

[quote name='rednose200' timestamp='1362691098' post='2003546'] Apart from that, I really cant understand why anybody in their right mind would want to 'F' about with the electronics of a Geddy Lee Jazz. Just why would you?[/quote] Me neither! My standard Geddy pickups are hot!!

[quote name='jakenewmanbass' timestamp='1362649048' post='2002573'] I was also not suggesting that you were an advocate of noodling It's just one of the things I've struggled with myself and been witness to with colleagues and students of mine alike, for my own part I don't start to feel like I really know a sound until I can come up with (and sing) melodic ideas that use a harmonic device or structure. So I hope it didn't seem like I was criticising the other comments, I simply meant that real internal knowledge of a sound, seems to me to produce the nicest playing. When you come across players that are steeped in a sound and have a vivid musical imagination then it really can be lovely. edit It occurs to me that I should add that experimentation and becoming familiar with a chord or scale is a crucial part of the process. [/quote] Thanks for this, Jake. Upon further reflection last night, your post made more sense to me, though I haven't quite got it sorted out. It did make me think, and question what I was thinking. For me, the discovery of the emotional core of whatever I am playing only comes through when I have pretty thoroughly mastered (and I used the term very advisedly) the mechanics of it. At that point I am somewhat free to let go of that aspect and get into something ... other. That's about as far as I can articulate it. Not great! Thanks again. W.

[quote name='jakenewmanbass' timestamp='1362592698' post='2001864'] My feeling about any harmonic devices is to learn what notes really make the sound of the related chord or scale, it's too easy to noodle just knowing notes work because you've worked out the theory. To get really musical with harmonic devices you really need to know the quality of the tones at your disposal so you can think about imparting real ideas even, dare I say it, emotions. without proper use of what a sound means it all just sounds like noodling to me. [/quote] I didn't mean to suggest above that it's all numbers or that you can simply slot scale notes into your playing. Endless noodling is certainly possible, but studying and using modal scales (or any scales) helps you find not just the right notes, or the notes that work, but the notes that will help develop your style of playing, or your approach to a tune--what I would call the emotional aspect. I can find what works emotionally in a tune, but that is quite often related to the scale and chord tones, and combinations of these. Without a framework, the emotional side of my playing can be just that: emotive.