Faithless

[quote name='Mrs Tinman' post='765943' date='Mar 6 2010, 01:58 PM']???? Well if you're not interested in the sh1t thats being talked about on here you could perhaps start some threads of your own. Just a thought.[/quote] I do start some periodically, but it's not the point. I'm talking about, what people are 'used to' discuss. Discussions about jazz bass finishes, string gauges, and amp wattages - for me, these just are technical tools for making music, nonessential stuff, but they're not music itself, if that makes sense.. If it's good for you and others, mate, it's brilliant, but for me, it doesn't do the trick ,that's what I wanted to say. That's it, take care

Actually, I don't see myself being addicted to BC at all these days. I mean, I'm here for about two years, but, what BC lacks today, is discussions about music. Yep, we have dozens threads about Jazz basses, amps, strings and other sh1t, that I'm not interested in at all, but there's sooo little about actual music. In the end, it takes about me about 7 minutes to go trough forums and pages, including BC, everyday.

[quote name='Doddy' post='760988' date='Mar 1 2010, 07:45 PM']I'm all for people having an opinion, but you a so blatantly wrong in this case it's crazy. The band is majorly tight, and just ace.[/quote] But, at the end, you're simply rejecting Cheddatom's (well, and mine, also..) opinions. Crazy or not, there a plenty of guys, who, IMHO, would have fitted the place ten times better. But, then again, if Moffett took the gig, good for him then..

we had it somewhere here.. Try searching 'difference between Lakland', something like that.. That was my question there, actually..

Are there any vids of band members interviewed [i]after [/i]MJ died?

[quote name='cheddatom' post='760933' date='Mar 1 2010, 06:55 PM']I just had a quick read on the net. It seems like he had a lot of history with MJ and the Jacksons? I'm not saying the guy's a crap drummer (although that is how I worded my opinion) i'm just saying I personally don't like the drumming on the majority of the songs on "This is it". Whether or not someone "get's it" is obviously subjective. Like I said i'd have to watch it again to articulate my opinion better, it's just the only reason I watched the damn film was because I was hoping for some sort of mind-blowingly groovy rythm section and I was a bit dissapointed. MJ's surprisingly energetic performance more than made up for that though.[/quote] +1 for cheddatom's words. It cool with drummer, he grooves and stuff, but his touch didn't work for me, esp the left hand (snare drum), if you want it detailed.. In other words, he seems to 'hit those things as strong as he can', but, for MJ's music and such, what I would would like from drummer, would be a [i]delicate [/i]touch, if it makes sense.. He must have taken the title 'Beat it' a bit too seriously, didn't he..

Just watched that 'Meet the band' bit.. It's all cool, Alex, bass, the girl and stuff, but I particularly disliked drummer - from those few moments of him playing it felt that his touch was just too heavy for this kinda thing..

Oh, I forgot this one.. I'll take a look at it today.

I was thinking of what Miles Davis solo I should take for transcribing, (he's probably perfect man for that - not too many notes, but, [i]what [/i]notes..! and I chose Straight No Chaser, btw.) and it got me thinking.. (that may sound a bit weird, but, eh..) There are loads and loads of transcribed solos on the net, let it be the same Miles, or other chaps, so, I thought - what are the [i]musical [/i]benefits of transcribing a solo, rather taking it already transcribed, if it makes sense? I'm not talking about technical side of transcribing.. I mean, what, do you think, you get musically from transcribing? Hope that makes sense.. Faith

Welcome to the dark side :brow:

A snowboard bag, that's an idea, man, thanks Shops here definetly have those for sale..

So, I'm after a decent gigbag for my EUB, but, the thing is, I can't get those in local shops, as, well, our shops haven't the EUB themselves for sell.. I may be looking at Thomann to get one, but, also, I could ask a chap, who makes gigbags for guitars and cases for amps, to make one, but, I bet, it would be his first order (EUB bag, that is..), so, I need, first of all, to know, how a decent bag looks, and what should I tell the guy, in terms of bag's specifics and stuff.. Any advice? Faith

[quote name='owen' post='746602' date='Feb 16 2010, 12:18 AM']JS Bach's bass lines rule EVERYONE else's bass lines. EVER. I will fight anyone who says differently.[/quote] Ermm.. Me? Nevermind that enthusiasm, its all good. Well, in most cases..

[url="http://www.spoonfed.co.uk/london/event/leonid-shinkarenko/at/606-club/"]http://www.spoonfed.co.uk/london/event/leo...ko/at/606-club/[/url] Yes, I know, this already happened, however, I haven't managed to give a shout about this before.. One of the greatest (if not the greatest) Lithuanian bassists, Leonid Shinkarenko happened to play in one of most famous London jazzclubs, on 10 February, with his band.. I was curious, if anyone of us got to see that gig, and, if yes, what were your impressions like.. The gig was led by Lithuanian Embassy in London, ambassador is a truly jazzlover himself. I got to say, that I'm very happy, that Lithuanian folks got to show their music and themselves in such a place. I wish, I could do the same thing one day, leading my own band... I hope, that Leonid left a good vibe behind him in 606 BTW, if anyone's curious, the man is playing Fodera Fretless 6. Cheers, Faith

[quote name='Doddy' post='746429' date='Feb 15 2010, 10:06 PM']It's easy to misunderstand that quote. The fact is that Herbie practised and studied for years before saying that,and he can now approach things in a different way because his grasp of the fundamentals is so solid. He's paid his dues both on stage and in the woodshed. I understand where he's coming from,but-and this is the important thing-he is Herbie Hancock. Jaco said in his video that most of his practise is without the bass in his hands,and a load of players took it the wrong way. He had spent so long with the instrument previously that he knew exactly how it worked and could concentrate on music. Only when you have such a solid grasp on the fundamentals of music,and your chosen instrument,can you start to approach it in this way.[/quote] [quote name='Doddy' post='746448' date='Feb 15 2010, 10:18 PM']You learn different things on gigs. What you study in the practise room should eventually come out in your playing. Fundamentals are learnt by practising. Application is learnt on gigs.[/quote] [i]Very [/i]good points, there, Doddy..

So, what's the point of it? I mean, it's clear, that there are two sides when in comes to practising - to do [i]it[/i], actually, to work your butt off (as Ron Carter did and helluva other jazz greats did, and, emmm... I actually do, except, I'm no jazz great..), or, not practice at all. Jake, I assume, that you're saying, it's not worth to do individual practice? I know, it sounds neat, but, then again, I can't see anything more past what you just put in front of us.

[quote name='Doddy' post='743272' date='Feb 12 2010, 06:37 PM']It's a shame that you ruled out Ibanez because both the BTB and Soundgear 6 strings are really nice.[/quote] I would call it a silly decision - the OP must have not heard of Prestige Soundgears, especially discontinued ones - they're top basses. Anyway, if I had 1500, maybe I would reach a Ken Smith stuff, wouldn't I?

Hey, chaps, don't make OP dizzy with all those 3finger techniques.. It's not the case. Wattabout 1fpf technique, I strongly recommend it. First of all, bass guitar is not a double bass anymore, in terms of scale, 34 against 40 is a bit of a difference isn't it? I'm not much of expert, but, as I've noticed, in most cases problem lies not in the small hands or whatever, but it lies in [i]positioning of instrument against the player.[/i] I mean, it's natural, that you will meet pain, when you're trying to reach that low F, using 1fpf technique, when your instrument is 'set' 90 degrees against you, I mean, this, a la Mark King style: Just switch your instrument more like a 45 degrees, stop acting a rockNroll star and adjust that strap to keep bass in normal height, somethin like this: Aaaand, you're halfway to the correct technique! Just to add, 1fpf is very economical technique, it's lets your hand to be relaxed, and you can do all your chords/arpeggios/scales with no problem. If guitarists use it, why can't we do it?

Sorry, Simply Red? First of all, it's Steve Lewinson there, and he barely plays yamaha.. Wtf, dude?

I think, your tutor was talking about plain fingerstyle technique, rather than some slapping or 4-finger Matt Garrison tech stuff.. If you're having problems, then it must be something of these: 1.Difference in sound, made by 1st and 2nd fingers (assuming you're using ordinary two-finger technique) - start out slowly by playing a scale, playing each note twice - make sure it sounds the [i]same[/i], played by any (1st/2nd) finger.. 2. Poor muting/hand position - take a look at this: Anyway, you (or your tutor) should have cleared this out for us, where [i]exactly [/i]do you have problems with your right hand.. Aaaand, finally,if you are having [i]any [/i]problems with hand, forget slap [i]now[/i]! You'll get to it later..

[quote name='CHRISDABASS' post='743999' date='Feb 13 2010, 04:06 PM']im glad someone finally brought this subject up!! im thinking about going E-C on my Fender P5 the B string can be difficult at times and as ive always been a four string player i dont really have the need to go lower E string any string recomendations?[/quote] Well, then I should call myself a 'dedicated' 5string player, as transition is quite difficult for me, but then again, it's all about habits and 'what I am used to' bullsh1t.. If I could play a 5ver, I won't struggle with E-C in future, and as I believe, you wouldn't struggle doing 'a vice versa' thing, mate

So, I did it (changed strings) about an hour ago I was thinking about going 'for' E-C tuning for a while, but I was in doubt a bit, cuz I have a few projects (Hip hop and gospel stuff), where I get to play a bit below low E, but, in the end.. I'll get over those 'note issues' I think. The problem is, I've played a very little of standard tuning bass (I mean, four string, E to G tuned), so, now, the transition, as I'm feeling after 40min of scale playing, will be f*cking hard, man.. It's not about that transition from 4string to 5ver, it's just about the place of notes on neck! Anyway, I couldn't get on with how my B string sounded in higher register, no actual pitch, just plain boominess, also, I'm getting a bit in transcription work, so, now, with high C, I get nearer guitars and woodwinds.. I hope, I won't suffer from that 'note transition' madness for long.. Anyone else doing similar (or a vice versa thing, from E-C to B-G..) thing and faced similar problems? Faith

Maybe you're right, but, I thought, I said exact the same thing, just in other words.. Once again, this is not about the timing, it's about the feel..

Well, just to make you sure, I'm not pretending, it's better to draw (yes, to slow-down, in terms of [i]feel[/i], not timing!), I'm just interested in people thoughts on all this.. And, just to add, when I was practising, I put metronome on very slow tempo, around 30bpm, ( I play [u]eight [/u]16th notes during one beat), and, I was[i] in- time[/i], actually, but I kinda needed to catch for a metronome beat, which probably means, that I actually have a habit to draw..

So, I was shedding (practising) with metronome at the moment, when I remembered an after-gig situation, when very experienced keybordist, that I played with that night, came to me and drummer, and said: - "You know, (me, bassist), you [i]draw[/i], and you, mate (drummer), you [i]rush [/i]a hell lot",- He also added to me, that, "well, anyway, drawing is better than rushing.." Actually, it wasn't the first time, I was told I [i]draw[/i] - and I'm not talking about my timing, which is actually good, it's more about the [i]feel[/i], if it makes sense.. So, it got me thinking then - no one of us has a perfect[i] time-feel[/i], right, some of [i]draw[/i], some of [i]rush[/i], when playing. So, the big question - how do you think, if drawing is better than rushing, or vice versa? And, at the end, can one be [i]better [/i]than another.. Share your thoughts, Faith.