thunderbird13

[quote name='Confuzzled' timestamp='1369951255' post='2094986'] 1/ The band is something of a money pit, and I'm bearing the brunt of it.......... In short, zero social life to pay for band stuff. 2/ I'm totally the whipping boy of this band ...... it still leads to me feeling a good way below valued a good chunk of the time. 3/ . However, the way that this has been approached is essentially for another band member to watch back a video of a couple of performances and come out with a written list (a f***ing WRITTEN LIST!) of, essentially, stuff that I shouldn't be doing. .. [/quote] Do you really need an answer ????????????

"Singers lose things" The video for how to play a C on the 5th string is pretty good a well - but surely its all a wind up

Thanks but I couldn't face a late night this week, the Brixton gig may be a possibilty - Have a good one

Hi Clarky - I might be able to make this one , do you know what time your on at ?

My missus used to go to the batcave and I used to the same place when it was a sleaze rock club ( Decadence I think it was called ) We walked past it last month and of course its all boarded up now and will probably be turned into flats or a supermarket

I was all set to come to this one but its the one weekend of the year I now won't be in London !!

Meh - He can play thats for sure , I just dont like what he plays and the sound he gets, I listened to his solo album once, it didnt do anything for me and I dont think that I've missed out TBH

Local band wanted a double bass player and as I've been learning for a few months I thought I'd push myself to see what would happen . I was assured that there were not looking for anything special so I rocked up today . As soon as I met then I wasnt sure the drummer/ singer was OK but the guitarist just stared at the ground and didnt even say hello Then the drummer/singer starts doing the paperwork announcing that he will be scoring me for each song and recording it to listen to afterwards . If I wasnt nervous beforehand I certainly was and it showed , I played the first song , timing all over the place, second song forgot the main riff , third song played it in a different key all the way through Then the guitarist complains that he cannot hear me ( I'm playing with gut strings ) and suggest that I use an old Kay SG copy TBH I was much more comfortable playing this but by that stage all I wanted to do was leave so I played one more song on their set and left. Pretty sure they wont offer me the gig and TBH I'm not that fussed , they didnt seem to have many gigs booked and the singing wasnt that special but that will go down in my mind as one of the worst auditions BTW its totally cool I wasnt expecting to get the gig I just wanted the extra practice in a full band situation

[quote name='thisnameistaken' timestamp='1367013875' post='2060399'] Could be referred pain from a rotator cuff problem - shoulder impingement. Do you do any weight training? [/quote] No weights but I do have a damaged rotator cuff muscle which is missing some cartlidge

That was quite good - I've never rated Robert Plant so when you have someone who can sing really makes a difference, the choir bit I could do without TBH , I think it takes away the simplicity of the song. Was it me or did the gutiarist miss out a bit in the solo ?

I've been playing DB a bit more now but I've just noticed that I an getting a twinge in my left arm tricep, nothing major just enough to give me cause to think. Would anyone know what the cause of it would be, I deliberatly dont use my thumb on the back of the fingerboard and because the pains not lower down past my elbow I'm going to assume that my left hand is OK. So the question is , is this pain just caused by the muscles getting used to being held at a strange angle or am I doing something wrong?I shoud also mention that I have a torn ligament in my left shoulder which restricts my mobility as well I fully appreciate its only a teacher watching me play could really give an informed decision but I wonder if anyone could give me some pointers in the meantime - has anyone ele expereinced this pain Suffice to say that if it gets worse I'll stop playing and get medical help !

Ricky copy looks great , not bad to play but the pickups are not centered over the strings ( and it would need a major refurb to do this ) , the truss rod is snapped oh yes and its made of pine wood ! And can I sell it , can I bugger

[quote name='KevB' timestamp='1366799682' post='2057430'] T's post reminded me I did once learn Aqualung for a bit of a laugh and though I got it to sound reasonably close to the original once I found a good transcript of it I realised that theres was a bit more to it than I thought (which didn't come as much of a surprise!). I had more problems with some of Glascock's basslines from the mid 70's though. I had to give up on 'Acres Wild' as my timing was all over the place. [/quote] Yeah its the timiing on Aqualung which gets me - when it goes from 8ths to 16ths - might give Acres Wild a try at some stage

I like the idea of taking a band you dont know very well and learning their basslines - might try that when I'm next looking for inspiration. As far as I'm concerned my bete - noir is Aqualung by Jethro Tull, after 3 years I still havent really nailed it ( to my satisfaction anyway ! )

I listened to a couple of recordings of my ( no very good ) covers band and I was so depressed with my performance that I was on the verge of quitting . In the end I went to a very respected teacher and asked him to tell me bluntly if my playing was as bad as I thought - the answer was no so it just shows you that your not the best person to judge your own performance. As others have said context is everything

Surely the black one is better for metal - and the white one for everything else

[quote name='Lowender' timestamp='1366121069' post='2048573'] This is obvious in response to my post in the other thread which was misunderstood. I think it's important to encourage when someone shows effort. I do not believe in coddling someone who's been playing for 4 weeks is whining how hard it is. I realize also that whenever anyone has a difference of opinion or adds any perspective that isn't in concensus with the majority, it's considered trolling. My point remains -- when someone is enthusiastic, they'll love the process and nothing can stop them. That deserves encouragement. If they ask questions...that deserves encouragement. If they complain how hard it is and say they may give up...let them give up. [/quote] I agree with you up to a point. Many many times I've decided to give up , even to the point where I have written out adverts for all my bass gear, then something happens ( usually on Basschat ) and I realise that playing bass what I do and ultimately its what gives me pleasure and what makes me me. So what I'm saying is that I think most players will get so frustrated that they consider getting away form the frustration only to realise later on that its all part of the journey but I take your point that if learning music is causing major grief then dont do it ( which is what I think you are saying )

[u][b]SE London/ Kent[/b][/u] [b]Malcolm Tysoe Ltd[/b] 8-10 Church Road Farnborough Kent BR6 7DB [url="http://www.tysoe-music.com/contact_us.htm"]http://www.tysoe-music.com/contact_us.htm[/url] I used him last week to fix a dodgy fingerboard - seems to know his stuff , and quite cheap as well !

[quote name='MartyForrer' timestamp='1365738432' post='2043723'] The bass players in the following bands.... spend some time on Youtube.... Wayne Hancock (Wayne the train) BR549 Big Sandy and the FlyRite Boys Hank III Reverend Horton Heat Bill Haley and the Comets. Johnny Burnette Trio High Noon Hillbilly Hellcats Willie Dixon Milt Hinton (the Judge) There's hundreds of others. [/quote] Thanks I'll check these out

[quote name='thisnameistaken' timestamp='1365715173' post='2043519'] I mostly play just with a single singer/guitarist (although that's a bunch of different people depending on the gig) so I slap whenever I think a tune needs extra rhythm, the sort of tune where people might be dancing. It's also useful for picking up a stronger beat during a tune to drive it along a bit and make things rowdier. So sometimes I'll slap all the way through, sometimes I'll slap from the second verse, sometimes in the final chorus, wherever I think a bit of testosterone would improve matters, basically. Remember though you're not soloing, you really need to provide a good backbeat and not deviate too much especially during the vocals. Keep it simple and steady. As for volume considerations, I'm usually picking the bass pretty hard anyway so there's not much in it. If I start slapping the guitarist will get louder too so it's not a big deal. I also use a sort of half-way technique where I'll pluck a string fairly normally with my fingers still pointing at the bridge, but I'll move my hand further away as I pluck so I can slap back down before the next note. It's a similar effect to the slapping style with your fingers perpendicular to the strings but you get more control over the volume and because you don't have to change your technique at all you can switch in slap playing for little embellishments here and there without any effort. [/quote] Thanks thats really useful I'll try that technique and see if I can control the volume - do you play throough a compressor when doing this ?

[quote name='BurritoBass' timestamp='1365701962' post='2043262'] Is the DVD useful at all? I've been looking at it. I love Lee's playing and hugely admire anyone who does that double slap technique but I could never find a teacher who played that style. Huge rockabilly fan but I don't play that style myself [/quote] Well its all on you tube so you can judge for yourself - not sure how happy Lee is about that ! The basics of the double slap arent really that difficult , personally I find it a lot easier than slapping an EB not triple slap thats a whole different matter

I’m interested in learning this technique after watching the Lee Rocker DVD but I have a few questions : Can anyone point me in the direction of good examples of this style of playing so I can hear how it fits into a band context. One of the difficulties I have of listening to this technique is that I imagine that when it’s done well it’s hard to hear when the bass stops and the drums begin Is it normal to slap all the way through a song or is it more used as an effect during a solo or a middle 8. And if you do slap for some of the song and then play pizz for the rest how do you control the volume levels ? Apart from a high action is there anything else to change on the bass set up I’d appreciate some help on this , although I’m sure I have a whole load more questions

I decided to bit the bullet and take the bass to a proper grown up to have a look. He confirmed that it was the fingerboard that needed fixing and quoted me a very reasonable price so hopefully thats sort. if he does a decent job is there a thread here to recommend luthers for DB as couldnt see one ?

[quote name='BigRedX' timestamp='1365423452' post='2039274'] IIRC the copyright issues with tab sites isn't the tunes themselves but the fact that the music publishers have already spent money producing "official" tab and notation books of those works that they would like to sell to people who want to learn the songs. And IMO quite rightly too. [/quote] Thats fair enough but from my experience I remember some of these books being very inaccurate !

Sorry I'm probably missing something but would it not just be easier to play a 5 string ?