JTUK

[quote name='Pete Academy' timestamp='1368557888' post='2078582'] I've played over 60 Steely Dan songs over the years, including the aforementioned Nightfly track. To me it's all about getting the feel right rather than getting the notes right. Any half decent player can learn a bass part by rote, but does it feel right? I still don't play Chuck Rainey,s Kid Charlemagne part like he does, but I've stopped worrying about it at long last. [/quote] Exactly.... you learn the part as in how to play what when..and then you play it your way. You have to bring to the part something ... otherwise it is just notes and you may not be anything like the player you are covering.. Until you get some sort of personality into the track... you are just playing by numbers. Personality isn't anything to do with the player and how he feels...it is how they make the track come alive with their part or playing.

I am not interested in the notes just the road map of the song, so I'll be working it as soon as the drums kick in.. At this point I may well retread old ground with regards to what I play or I may have picked up on something different and am then going to go with that. If I have to count through sections, I'll do that... but mostly I am looking for trigger points if I need them.. Once I am familiar with the lay-out of the song.. I am looking to play it.. not follow it..

I just listen to it a few times to get the essense as far as I am concerned... make notes of where we are going to put the changes and that is it. In rehearsal, we see whether it works and is worth pursuing, we talk about the intro to set the tone..the feel/groove we want, and how to finish it. That gives us the template for everyone to add/embellish what they see fit..

This thread is along the lines of a show on Sky arts recently. The very popular band are an example of playing by numbers and being totally devoid of any musicality in their playing...as far as I can see.. They play the notes but where is the music..?? If you are going to [put a band together, the guys can be as boring as hell... but they need musicality. Maybe this is another thread..

Very very very common thing.. I find. People spend so much time cloning a line that they forget the jizz.. but then those same people aren't likely to have it anyway...

Cheap will always trump ethics... but in this case, I would like to think I wouldn't touch the company in the OP but then, again, this is not unknown practice and it may be hard to keep track of what happens through the life-time of a company.

[quote name='molan' timestamp='1368389776' post='2076537'] I just read this article http://theeccentricblog.blogspot.co.uk/2013/05/digital-village.html?m=1 If it's true then they won't be getting any custom from me in the future [/quote] Got to agree, sounds very dodgy.. If people insist on having the lowest prices possible, then it will only be these chains that will survive.

Not sure the Micro 210 cabs are upto a loud band, tbh...even paired up I recently heard the rig thru an SG bass so you would expect the sound to be anti clean... but instead it didn't sound like it was handling it at all well and well beyond an OD sound. I'd say it was struggling..tbh. Quite liked the Portaflex cabs at low volume tho... if they amped up better then I'd suggest that as a good combination. Never been a fan of Ampeg cabs, traditionally but I have a few friends who like the HLF..as heavy as it is.

[quote name='molan' timestamp='1368363208' post='2076078'] My local store has their first stock of these arriving this week They've got the CN 1x12's and 2x12's and HD 1x12's too - plus, with any luck, their new amp and cab demo room will be ready in a week or two as well [/quote] Excellent news that Phil is stocking these. I feel another visit is due :lol Did you get my PM, Barrie?

I have very well regarded 2x 112' cabs and my 2x210's cream them all day and every day..IMO so I don't think it is easy to say 2x12 is a better cab or config. Carrying 2 single cabs is a decent way to get round the carry issue of a 410...but more expensive.

I think if someone really really REALLY wanted a bass...they'd have it.

You have to work through to crack these basic techniques. Dig out any old Bernard Edwards tracks and put the time in. [url="http://www.youtube.com/watch?v=_wlJr6eCc-w"]http://www.youtube.com/watch?v=_wlJr6eCc-w[/url] You can get this pattern with fingers ..even if the sound in the track could be a pick. Use it as an exercise and once you can play this... you wont have any problems playing fingerstyle octaves. [url="http://www.youtube.com/watch?v=X6x--c9SZak"]http://www.youtube.com/watch?v=X6x--c9SZak[/url] practice triplets either 2 or the root and 1 octave..and then the other way round.

Sounds like a fundemental mismatch ...in the end you will sell one of other of the components that isn't working in this instance.

My basses aren't cheap and they ooze quality and class...IMO. Am I happy to pay the premium..?? yes...!! and for the right bass, I'll do so again. Do I think I could find something as good for less money...maybe. in some instances, but overall, no. That is the decision I make when buying...others may have priorities elsewhere. There is a reason things are made in certain countries... and that is because productions costs are cheaper. If the maker works for £30k a year, then that puts an hourly build cost at such and such.. if they work for £2k pa without any employment rights that we regard as a given, then that can be passed on. If you asked me where the money goes on certain production basses, I'd say the saving goes straight to the shareholder... and you may not see a marginally better bass.

Looks great, but maybe a bass is outside his comfort zone. Depends how part time he is.... and whether he percieves a bodged attempt at a bass might be a blot on his body of work..?? Or, he just doesn't have the time for a project he is not interested in..??

We rewrite most of the stuff..... but only in terms of putting our sound and stamp on them so not a zillion miles away from the template track.. It all comes down to how strong the idea or vision is... The last thing you want to end up with is a contrived version...it either flows or it doesn't...

I'd get out of that habit... sounds like getting the hands into all sorts of nasty positions. The whole song is an exercise in good fingering...so if you can do it properly, it will serve you in good stead in your general playing further down the line

[quote name='daveparker123' timestamp='1367952304' post='2071541'] [url="http://www.guitarmagazine.co.uk/features/the-only-way-is-essex-the-ashdown-story/"]http://www.guitarmag...-ashdown-story/[/url] Says here they don't pay out for artist endorsements. [/quote] They may not.... but they would have to pay for the promo seminars and workshops... so I guess it is some sort of play on the contract... Not having to pay people for your stuff sounds a nice creditable stance.... if you can carry it off... I know drummers who/were are major endorsees and they have to provide workshops etc as part of the deal...

There was a great looking Celinder J5 here a few weeks back... was up for £2.2k...IIRC

I've got a couple... but in Kent.

Looks great... would have a P-bass neck rather than a J

I don't have heroes or idols but certainly have influences. I'll take note of what an admired player uses but only upto the point of whether I like what the kit is capable of..as I am under no illusion that it will make me sound like them. I borrow from too many to be interested in any sort of clone thing..

[quote name='douggie' timestamp='1367959770' post='2071725'] no, standard Ashdown, had a valve drive but i din't use it much..Andy is my brother and just the sh*t.. [/quote] He does a few local dates down here and it is always a joy to watch. Don't you get ideas to come down or nobody will get a look in but you may well know of the Mariners deal...??? If not, the I am sure Mr A Newmark could fill you in..