Wylie

I've got a few dead notes on an otherwise fine G string. The notes at 5th - 7th frets are not completely dead, but muffled, not ringing. Does anyone know what causes this and what can be done? There are no other dead spots, either on that string or other strings. Strings came with the bass (Fender CIJ P-bass), which I bought new six months ago; I assume they're factory issue. Thanks.

[quote name='AM1' post='497329' date='May 25 2009, 02:32 PM']... so for now, my approach is build basic basslines and impro over them, rarely playing the exact same basslines twice. This works as long as I hit the "right" notes when chords change ... Any exercises that can help with learning the notes would be useful.[/quote] Your approach is fine. I think what people are saying is that when you know where the notes are, relative to the key you are playing in, you will be able to make the changes and hit the right notes. When you play a blues in A, undoubtedly you know that you will also be playing over a D and an E chord, right? So you know where the root notes are for those chords. Once you work out how each chord is built, you can choose other notes to go to when you approach that chord, and they will also be the 'right' ones; thus you are freer in your improvisation because you can move around in the chords. It's really all a matter of context, whether you read music, read charts, or play strictly by ear. Having a systematic approach to your playing - learning scales, memorizing notes, etc. - doesn't mean you will be limited when you improvise, it means you will be freer in your improvisation. I strongly recommend getting a teacher. Made all the difference for me. Ted

[quote name='62P-Bass' post='497192' date='May 25 2009, 10:57 AM']I find it more useful to think about the number of the note in relation to the chord/key, rather than the actual note name. As time goes on you get better at understanding what effect each interval has against the chord, which will be the same regardless of key. This should help you to improvise as you will start to know in advance what each note is going to sound like in that context. Also, because of the layout of the bass fretboard and string tuning, the fingerings will always be the same which is a big advantage. Andrew[/quote] I agree with this. Knowing the scale degrees is invaluable because you begin to see what chords are likely to occur within a particular key, and if you know which of those degrees is major and which minor (for example), you can quickly find the root of your chord and figure out the pattern you want to follow. It's all related (this is not news, I know ), and it is a LOT easier to figure out and use if you learn the notes, which in turn is made a lot easier because, as Andrew said, you are doing things [i]in context[/i], not just looking at notes scattered over a board. For me, learning the notes, practicing scales, and finding the triads has opened up my playing immeasurably. It's just a matter of doing it every day, a bit at a time. I guess if I felt I could play better going strictly by ear, I wouldn't bother with doing things more systematically; but for me, this is what works.

[quote name='dr.funk' post='494148' date='May 21 2009, 12:36 PM']PM from nurguzik titled 'Read to all'[/quote] I got the same from 'nurguzik' just now.

[quote name='Geek99' post='492935' date='May 20 2009, 07:52 AM']I suggest going Japan (CIJ) - nice balance of price versus quality. My 62 RI jazz is amazing.[/quote] I also love my CIJ. Played half a dozen, including Mexican and American-made Ps, before buying this one. Neck size and feel, string tension, everything about it is great.

I have two teachers, one informal - a friend who plays bass, violin, piano, and composes - and one formal, a bass player who makes a living doing gigs all over the Northeast. I have tried books, and to a point books are fine, but there are always questions the books don't answer, which is frustrating. I am a slow learner on my own, but with my teachers I can pick things up rapidly, mainly because I make them show me practical applications of what they teach. And as someone else said, playing with others is best of all because then the music teaches you.

The opening lick of the Beatles' 'Hey Bulldog'. Time to learn: 1 minute, 24 seconds. Impression value: 4.

[quote name='Buzz' post='483770' date='May 9 2009, 03:35 PM'][url="http://basschat.co.uk/index.php?showtopic=37864&hl=modes"]http://basschat.co.uk/index.php?showtopic=37864&hl=modes[/url] Might be usefull. Go have a search for modes in the Theory and Technique sections, there's lots of threads and posts about modes and their uses.[/quote] Thanks, I did see that ... only a little late! Very useful, thanks.

I am fairly new to bass; converted from guitar. And like a lot of middling guitar players, I never learned music theory. But now I am studying hard, practicing daily, and trying to learn how to get around on the bass with some imagination - and out of the 1-3-5 rut. Everything I read about modes seems to discuss everything about modes (in about 25 words) -except- how to use them and why. I am looking for a practical, step-by-step explication of what a mode is, how is it USED IN A SONG, and, preferably, without using the key of C as an example. (I know why C is used - no sharps or flats - but since we use sharps and flats most of the time, wouldn't other key examples be more useful?) I'm sure this has probably come up before, and I beg pardon if this post is redundant. But if anyone can direct to me help on this subject, I'd sure appreciate it. Thanks. Ted

Be Music in Rutland, Vermont, and Wood Bros. in Pittsfield, Mass. Basses and amps are thin on the ground both places, but depending on who's manning the shop, you can usually find someone who won't bull**** you to death. Be Music (not that many of you will ever see the inside of this store) just announced it will sell off all its Fenders: every one was marked down 20 percent. But it's all US-made basses; not a single MIM or Japanese Fender in the place. And they're wondering why they can't sell their stock?? Even at 20 percent off, how many musicians in Rutland, Vermont, can afford a US-made P-bass?

Bruce Thomas of the Attractions.

[quote name='Linus27' post='411271' date='Feb 16 2009, 05:22 PM']I quite fancy getting a Japanese Fender Precision but they seem to be super rare. I see a few Japanee ones but Precisions, especially with maple necks seem so rare. They also seem to vary in price at lot. Some sell for a couple of hundred and others sell for £600 - £700. Anyone know why this is and noticed how hard they are to find?[/quote] Mine is a fairly recent Japanese 54 P-bass reissue, basswood body, 2-saddle bridge, huge maple neck, Telecaster headstock, little tiny frets, original P-bass pickup. First introduced in the late Sixties, but I don't know all the ins and outs. The 'flower power' motif may turn you off, but the bass is powerful, solid as a rock, comfortable to play, beautifully made, and mine is well-intonated. The cost was the clincher: $420 new, not used; offered in its last incarnation in the $800 range, I believe. Great bass. I've seen two in two years, and bought one of them.

Fender Japanese '54 reissue P-bass

To me, his playing is guitar playing, for the most part. Really good guitar playingh.

Thanks, this helps a lot.

Hello, mates, I'm not of the UK, new to this site and relatively new to playing the bass, coming over from guitar. I recently traded in my short-scale Squier for a Fender CIJ '54 reissue P-bass, the 'flower power' design, and I may want to replace the 2-saddle bridge, which is a string-through, three-screw unit. I've read pros and cons of Badass bridges and suggestions for Gotohs. Has anyone swapped out this particular bass that can recommend a good change?