jude_b

Without hesitation I would recommend getting Stuart Clayton's 'Ultimate Slap Bass'.

I've been playing for over 20 years now having used a number of books over the years, but decided to work through this book whilst taking a break from bands during my daughter's first couple of years. This followed from a discussion of the book on this forum. I thought I was reasonably ok at slapping, but this book has really helped tighten my technique up and taught me some new tricks. It's very easy to follow, has a couple of good CD's and I wish it had been out when I first started playing.

I personally find that playing slap bass is something I tend to do at home, and it very rarely gets used in anger - the odd RHCP cover or funk number having been the exceptions.

Throwing in my full penny's worth, I also think that slap is a bit like doing ball juggling tricks in football - it may look quite impressive but it is much more important to be able to play sympathically with the 'rest of the team' so to speak.

I didn't think this was that bad as these things go - a reasonable mix between the vituoso and 'big band' bassists.

Where's Kim Deal though? I only just noticed how good her lines and sound are after digging out a Pixies album today - and I'm not being sarcastic here!

I have had a couple of basses repaired and set up by Jon Kinkade in Kingsdown, Bristol (a google search should get you his details).

He actually hand builds acoustic guitars, but did an excellent job. I don't know how much he'd charge for a set up because my costs included repair work, but they both played wonderfully afterwards.

Hope this helps.

Thanks - there but for the grace of god etc.

Apologies if this has been posted before, but it made me laugh anyway.

[url="http://www.youtube.com/watch?v=pzXgL9V8Qm0&feature=related"]http://www.youtube.com/watch?v=pzXgL9V8Qm0...feature=related[/url]

Thanks for posting these. I laughed at the first Mark King video more than the clip of Alistair Campbell winding up Adam Boulton recently.

I'm looking for an LX 6, although, in truth, I don't think I'll be getting one until later in the year. For some reason, I also have an urge to get one in a fairly tasteless colour.

These look like really good prices - particularly for the Stage I.

Best of luck - I'm sure they'll shift quickly.

[quote name='pete.young' post='821193' date='Apr 27 2010, 09:13 PM']This from the man who proposed Shakin' Stevens?

Dunno if there's an award for the most pointless thread on Basschat ever, but for my money this is a clear winner.[/quote]

Speaking only as an occasional contributor, I quite like reading threads like this - I've listened and got into lots of music on the back of seeing what other people like, whatever form the question is dressed up as.

I even enjoy the occasional 'Adam Clayton is better than Jaco is better than Stanley Clarke whose tone is really rubbish' threads.

I should therefore throw my tuppence in:

Bass playing genius - Ray Brown, on the basis that, to my ear, his note selection, phasing and musicality is unreasonably perfect.

Jolie Holland - for writing 'Mexican Blue' on her third album.

George Clinton - for the whole thing about putting his sunglasses on in 'P-Funk'.

I tend to agree with those that have said that it's up to the seller.

Whilst a clear and open ad will encourage buyers, I can understand why people may be reticent about giving out their location to all and sundry.

One thing I really like about this forum is the openness and I consider that the people on it are generally 'good sorts' (being bass players), however I don't expect others to share these views.

Whilst it is helpful to know if you will be able to easily undertake a collection, the PM system seems to me to be adequate for establishing where people are.

My concern about a template, is that, being an overly reliant on the soundman/plug in and play type, I probably don't know enough about the technical aspects of basses to adequately complete one!

Thanks for the comments so far, which, as usual, are really helpful.

To be completely honest, I personally wouldn't expect to need the additional range too often in a typical group situation - although I can see the possibilities the C string gives for melodic playing. In most circumstances my mindset is to accompany others and flights of fancy are usual left to home practice.

I think the point about weight is important - I haven't got any back problems at the moment (touch wood) and I hadn't really considered this after having played relatively light basses in the past.

My main thoughts about using a guitar-type tuning is simply down to laziness, based on the fact that I play acoustic guitar and could see how chord shapes/melody patterns on the top strings could easily translate over. I'm not averse to 'alternative' tunings as they can obviously be very handy in guitar playing.

The point about slapping being more difficult is also a bit of a concern, although I'd hope playing the acoustic guitar should mean that I might be able to cope with the narrower string spacing.

I also like the idea that, by having the extra strings give you more options for phrasing because you don't necessarily have to move your hand up the neck, say, to make wider intervals.

The problem is, as another post recently pointed out, there aren't a lot of shops with a range of 6-string basses to try out - I guess I'll have to take the opportunity at different shops over the next few months.

Thanks again.

Hello,

I'm thinking about going for a 6-string bass some time later in the year. I was hoping that some of you who already play 6-string basses could give me the benefit of your experience:

- Do you find that you use your 6-string as a working instrument, or does it tend to be a bit of an ornament? I realise 6-string playing is more associated with some types of music rather than others, and, of course, it depends on the player. However, I'm interested in the practical experience of others.

- Does anyone use a guitar-type tuning with a low-B [i.e. B-E-A-D-F#-B] or even an E-A-D-G-B-E tuning with two 'high' strings?

- Any key considerations about what to look out for when buying? I'm going to try to find somewhere that has a range of 6'ers before buying, but would be interested to see if there is any kind of consensus about the best string spacing, neck width etc etc.

This likely to be a while off, however, any insights would be appreciated.

Thanks.

Simple but effective: the bass solo on Lenny Kravitz's "It ain't over 'til it's over".

Tacky eighties: there was a really really good bass solo on a 12" version of Freedom by Wham.

A solo from a song I actually like: Flea's solo from Aeroplane on One Hot Minute.

I keep coming back to look at this and it doesn't feel very healthy. I can just imagine the reaction if I dragged this out the box and turned the lights on at a typical Bristol pub venue.

I'm Jaydee free at the moment, but with three going on the forum it's all a bit tempting.

Best of luck with your sale.

[quote name='RhysP' post='708803' date='Jan 11 2010, 01:43 PM']I'm pretty sure it was a "real" bass sampled into Dolby's Fairlight & then sequenced.
I'm a big fan of Thomas Dolby.[/quote]

Phew. Thanks.

I haven't heard it for years, but, "May the cube be with you", by Thomas Dolby.

I really really hope it wasn't a synthesiser.

One take on this is that the blues scale isn't really found in classical music but, together with blues chord progressions, forms the bedrock of virtually all 20th century (popular) musical forms. Learning the blues is therefore a sensible place to get to grips with the blues scale (where else do you start?).

(I'd be interested if anyone knows a pre 20th century classical piece which includes something like a blues scale - there's a Mozart piece with bluesy minor 3rd I can immediately think of, but I've never spotted anything else.)

As far as dull blues basslines go, it depends on the bass player. Getting together interesting basslines for blues numbers, whilst also keeping it tasteful, is more difficult than it might naively appear!

Whoops - I've always played it with fingers.

Ah well.

Haven't been able to shift this on eBay with a £750 reserve and will therefore take off the market for now.

Would still trade for a Stingray 4/5, Sandberg Cali JM 4/5 or a mid-range Warwick, where the second hand price would be in the range £600-£800, if this could work for both sides.

But won't bump until I decide to go for a full sale again.

Have a good Christmas!

[quote name='Doddy' post='691682' date='Dec 22 2009, 05:36 PM']As far as the pick is concerned,have you tried using a thumb pick?

I use a couple of different techniques to mute the strings. When I'm ascending
the strings I use a combination of basic rest strokes and using my thumb as a moveable
anchor-as I move up a string my thumb follows on to the string below. So,if I am
playing on the upper two strings,my thumb will be resting on the A string. I will also then be
muting the E and B strings with my little and ring fingers,rather than tucking them into my hand.
When I'm descending,I mute with my fretting hand-mostly with the index finger,which slightly touches
the higher strings enough to mute them.
If you are trying to mute the notes,but are getting 'pull off's' you may be releasing the string too much.
You only have to release your finger pressure very slightly to mute the note that you're playing.
When using a pick I use the same left hand technique when descending,and mute the strings with the
side of my picking hand.

String skipping,like everything else,is just really a matter of practice. Slowly try playing intervals of,say,
5th's,then octaves,then 10th's. When I say slow,I mean reeeaaallllyyy slow. Concentrate on playing the
notes cleanly and accurately. Remember,Speed is a by-product of accuracy.[/quote]

This all sounds like good solid advice to me - although I do remember scratching my head when trying to work out what a "rest stroke" was from descriptions in tutor books when I started out. I was lucky to have someone who could show me. Similar issue with left hand muting - much simpler to get someone to show you rather than try to work it out from a description if you can.

I suspect you may have a problem playing rest strokes if you're playing with your index finger nail because your hand will have a tendency to pull away from the guitar and you may need to develop a clever way to use your thumb/palm to mute open strings. More like playing classical guitar/fingerpicking than "standard" bass playing - but I wouldn't let that hold you back.

I've found playing with three fingers is a useful addition to my technique. I think I started trying to do it when learning the solo from My Generation by The Who in my first covers band - it seemed to be the only way I could get a similar sound, although I'm not sure what Entwistle did in practice.

I can also remember Flea using what sounds like three finger triplets on Blood Sugar Sex Magic - can't remember the song name at the moment - the lyrics "mellowship for a fellowship" ring a bell.

I've had some PM'd interest in trades for this - thanks to those individuals. However, it's gone a little quiet and I need to get a move on with offloading this and have therefore gone down the eBay route. Link is attached below if anyone is interested/looking for a stocking filler/had a few too many and feeling adventurous.

[u]http://cgi.ebay.co.uk/Andreas-Zeller-3-4-Double-Bass_W0QQitemZ180445634520QQcmdZViewItemQQptZUK_Musical_Instruments_Sting_Instruments?hash=item2a0365dfd8[/u]

All the best.

I think you may well be right over the long run and I'm probably being a bit impatient. However, I've got quite a few piano pieces I want to learn, plus trying to keep on top of electric playing, so something's got to give. I think I was deluding myself that I'd have sufficient time to devote to it when I bought it - it was a bit of a rash purchase.

I'd also rather get rid of it before my now crawling daughter decides to use it as a climbing frame/artist's canvas/teether.

I also find it frustrating having it in the house when I can't play it. I agree that it is an interesting piece of furniture - although I suspect upright players are still probably the butt of the orchestra's jokes, after the percussionist, of course.

[quote name='oldslapper' post='675822' date='Dec 6 2009, 04:21 PM']Just to add my 2 pence worth, as you did ask about keeping it.
Unless you are desperate for the money, I'd try and stick with it for a little while longer. It's so worth it in the end. I bought one in May, shoved some small stickers on the fret board, gave myself just 5 mins a day getting to know the fretboard and looked at some technique vids on you tube . Last of all a DB in the house is a great talking point, interesting piece of furniture and people think you are a proper musician!! ....little do they know.[/quote]

PM'd.

[quote name='ieuanmacey' post='675787' date='Dec 6 2009, 03:36 PM']How about a Sandberg Cali JM5?![/quote]

Last bump before it goes on eBay at the weekend.

Some interest but nothing firm as yet and I do need to get shut sooner rather than later.

Would settle for £800 or trade for a Stingray 4/5, Warwick (Streamer) or a good quality Precision. I think it would be asking to too much for a Sandberg California JM4.

Sorry no - I'd have nothing to put the bloody thing on then.

The stand and the bow make the total package an ideal Christmas gift.