Mikey D
-
Posts
838 -
Joined
-
Last visited
Content Type
Profiles
Forums
Events
Shop
Articles
Everything posted by Mikey D
-
Hi. I got these as well. I found them to be alright to play, but then I have practiced similar things quite a bit before, but more just out of practicing scales and patterns in scales naturally. Overall I don't think i will be adding them to my practice regime as I don't see myself using them in an actual playing situation. They are great for dexterity, coordination etc, but I would rather practice this in conjunction with fragments/shapes I would actually use in my playing (saying that, I'm sure one or two may be what i'm talking about, but I haven't played through all of them). I feel it is better to see it as a concept. i.e. come up with a shape of say play a note go up a forth play three scalar notes then done a forth for an example, rather than using the strict examples laid out in the hanon. (I think that makes sense!?) Ornette Coleman was one for doing this, known for coming up with a lick or shape and running it though every conceivable option to make it into a complete exercise. But thank you for sending them to me and no doubt I will dig them out occasionally just to have a go at some of them.
-
I have definitely read somewhere that he played it and it was doubled. Although checking a few discog sites it looks like he isn't on track 1...I feel lied to and cheated! But glad I learnt it anyway.
-
[quote name='XB26354' post='373596' date='Jan 7 2009, 10:21 PM']Not strictly a bass one as it is Greg Phillinganes playing what sounds like a Moog, but well worth it if you persevere - very funky and some great licks. Also fun (if hard!) to play on "real" bass. Not one to sight read though Cheers Mat[/quote] It is a strict bass part though as it is the main man Anthony Jackson. The part was later doubled with the Moog. It is one of my favourite bass lines ever, ridiculously funky. I love playing this bassline. Cheers for the actual transcription though.
-
I know of three people who bought these cases and they seem much better made than most. Great value. I'm currently thinking about getting on for my double as well.
-
Jazz lines and playing the same note twice
Mikey D replied to JohnSlade07's topic in Theory and Technique
I like the banjo. Especially jazz banjo. I also sometimes play three notes in a row that are the same. I'm currently in jazz purgatory. -
It's great with double bass. I have used it with a double on many occasions. Also a guy from my college used it at a gig. Malcolm Creese (great great bassist) was supposedly there and was very impressed with the sound supposedly. Let me know via pm or call me if you are interested. You are welcome to come and try it. Got some other interest this week. -
To answer the question about the fanned frets, to quote ralph novax: Why Fanned-Fret®? The "fanning" of the frets results from manipulating the scale length of the bass side of the neck relative to the treble side: the fret spacing is wider for the long scale and closer for the short scale. Looking inside a grand piano, or at a harp, we see that the string lengths vary with the pitches of the strings. But fretted instruments are traditionally constructed to a single scale length, negating the benefits of scale length relative to pitch. Since there are relatively few strings on most stringed instruments, compromises are made and string gauges are manipulated for workable results. Players, accustomed to the compromises of single scale-length construction, are often pleasantly surprised by the richness and clarity of Fanned-Fret® instruments. When the fanned-fret concept is applied to the six-string guitar, the resulting instrument has a "focused" sound - clear, articulate and balanced. Some players say "more in tune" or "more accurate." One of the real advantages of the Fanned-Fret® concept lies in its application to instruments like the seven-string guitar, eight-string guitar, five-string bass, six-string bass, baritone guitar, and mandolin. The range of tunings and number of strings force compromises that make these instruments poor performers or even impractical when constructed with the traditional single scale-length. The fanned-fret concept addresses those problems and makes these intruments playable and practical. Why is Scale Length Important? Scale Length influences both the tonal quality of the notes produced and the tension of the string at a paticular pitch. The tonal effects of scale length are crucial to the final tone of the instrument. Woods, hardware, and electronics act as "filters" to string tone. They do not produce tone of their own and only modify input from the vibrating string. If paticular harmonics are very strong, or altogether absent, those characteristics will be present in the final tone of the instrument.
-
Sorry, I'm talking something like this. Just to clarify, I am looking to sell both the combo and cab together initially, but it there is no interest in both together, I will split, but want to see if people are interested in both first. Cheers.
-
[quote name='bilbo230763' post='382474' date='Jan 16 2009, 03:02 PM']Supplementary information: Chord scale for a Melodic minor scale in C C min/maj7 D m7 Eb Maj7sharp5 F 7sharp11 G 7 A m7b5 B m7b5[/quote] As bilbo said, just with a few things I found useful. Obviously we tend to use the ascending form of the melodic minor. When applying to jazz (and other music obviously) you can get a lot of value from learning the melodic minor harmonies, especially when used on the dominant. Cmin/maj7 (can be applied in IImi in Bbmaj and Cm when it occurs as a tonic) D7susb9 (Ami7b5natural9/D)(Apply as a sound in V7 situations) EbMaj7#4#5 (apply in tonic and sub dominant situations) F7#11 (apply to V7 and IV7 situations or when F7 is a tonic such as in a blues) G7 b6 (apply to V7 situations) Ami7b5 (apply in minor cadences) Bmi7b5 or V7 alt (b9#9ª11b13) (altered) Therefore the mode generates 4 dominant (V7) sounds V7 sus b9 V7#11 V7 b6 V7 alt So over G7 you can use: F melodic minor which generates G7 sus b9 C melodic minor which generates G7 b6 D melodic minor which generates G7#11 Ab melodic minor which generates G7 alt
-
Unless you have an 8 string fanned fret hybrid guitar/bass ala Charlie Hunter laying about, it is a straight sale only.
-
This post cannot be displayed because it is in a forum which requires at least 1 post to view.
-
6 monthly bump!! As it says above, for sale again as it has only been gigged once since I put the advert up and due to a move has been in storage so it exactly the same condition as when I listed it. Mint. Selling the rig to fund my 8 string purchase which due to the exchange rate changes since i originally wanted it that there is a lot more to pay! £700. PM me or call 07914814348. I can only answer calls after 6pm, but if you text I can call back later.
-
Buying new 8 string hybrid...wood combo suggestions!?!
Mikey D replied to Mikey D's topic in General Discussion
[quote name='mcgraham' post='286440' date='Sep 18 2008, 09:12 AM']Are you going for electric or electro-acoustic? I have to be honest, I reckon that the wood choices for electric guitar are of even less consequence than they are for bass. Saying that , I'd suggest alder for an even balanced sound, but if you want something a bit warmer then I'd suggest mahogany. If you're lucky you might even be able to get some figured mahogany for at least a top like on that AJ Fodera. If you were going for electro-acoustic I'd recommend mahogany or rosewood. Walnut can be a bit dead sounding (IME). My favourite sounding acoustic wood combo is/was rosewood back and sides with sitka spruce top. Sounded sooo crisp and clean, it was wonderful. I thought you sold it as you were primarily focusing on bass. Have you been sorely missing 8 string playing? Mark[/quote] I think it is going to be an alder body, maple neck, plain ebony board. Still debating what top/matching headstock to go for...I'm going to see if he has anything in stock that he can offer. I'm trying to keep the custom costs down and would rather put the money elsewhere. All being good the pickups should be a customer Nordstrand and a Dimarzio vintage-p90 soapbars. I sold it to fund repairs and on the other side, to concentrate more on my bass playing. But as you have said, I am really missing playing it. Now I have a bit of money "spare" I've decided to get one made. A bit like a joint xmas/birthday gift for myself by the time it is made. -
Here's the deal...I don't know what wood combo to go for on my new custom build Wes Lambe 8 string!? Some of you may know I had to sell my last one as I had to pay for double bass repairs and general Uni living, but I bought this "used" so didn't have a say on woods. Now I can afford it, I am getting one custom made. I'm completely stumped. I originally wanted to go with the matt garrison/janek etc buckeye burl fodera wood/black hardware combo, but now I don't know after seeing charlie hunters new Traugott...Any other ideas for best looking wood/hardware combos? The main body is either walnut, mahogany, alder or swamp ash. Neck can be mahogany or birdseye maple. Fingerboard can be maple, rosewood or ebony. Of course other woods are available at extra cost. Like wenge for the neck or another wood for the top. I'm trying to keep other wood options out apart from a top as I can't afford much more on the price as I am already going for hardware/pickup upgrades. This is what they look like (this is my old one): and I am currently thinking of this sort of wood combo, but I am open to suggestions!?:
-
I normally "refuse" (in a nice way of course) to do more than 2 hours...it's not normally beneficial, unless its longer for a special reason (last minute gig with a new band where you need to practice a 2 hour set etc) If there's more time people think its alright to have a lunch break, multiple fag breaks (lasting forever). Go in, focus for two hours, and get away on time. If they think its going to take more I ask for materials in advance to learn on my own, then when we get together if everyones put the graft in, it shouldn't be that problematic. Regarding amount per week, its hard to say depending on the standard of all the guys in the band, some people retain what happend one week and can do it a fortnight later no problem, some have memories like sieves!
-
[quote name='ped' post='254424' date='Aug 4 2008, 02:19 PM']Oh that's interesting. Mine was taken from a video he did with Dave Weckl, I guess it was a condensed version? Great, now I can't play the 'Spider'!!! ped[/quote] Yeah that's where this one is from...or did I make it up!? It works anyway. If you are into shapes (which some people hate to practice as it isn't music! ) a good one is a scale divided by strings. so a g major scale with 3 notes on each string, but skipping a string would look like this: G------------------------------------------------------ D-----------4-5-7---------5-7-9-----------7-9-10---- A------------------------------------------------------- E----3-5-7---------5-7-8---------7-8-10-------------- Sounds a bit like an allan holdsworth guitar line if you get it really fluid.
-
The spider exercise I know from Patitucci goes: G------------------------------------- D----5----6-----3--------4---------- A-3----4----5--------6--------------- E-------------------------------------- then G-----5----6----3--------4----------- D-------------------------------------- A-3----4----5--------6--------------- E------------------------------------- then G-----5----6----3--------4----------- D-------------------------------------- A-------------------------------------- E--3----4----5--------6--------------- Etc if you want to do it on a 5/6 string! Using 1 finger per fret obivously. I used to practice this a lot and it really helped my left hand dexterity.
-
Ok, so the new real books pay for the licensing as they included melodies, lyrics and songs that have a copyright applied to them. The old ones didn't, so they are illegal. So what about the Pocket Changes. As it is only the chords and title, it is meant to be legal. As you can't copyright a set of changes or songtitle. supposedly. Not even when they are used together? So do the pocket changes pay licensing fees, or do they just get away with not paying because they haven't broke any copyright law. I'm not overly confused about this, but there doesn't seem to be an "official" line on this on any copyright site. So could I just release, for example, a book called "Abbey Road Changes" listing chords with titles of music by a popular scouse beat combo, without paying any fees to anyone? Who can i contact to get an official response on this?
-
[quote name='NancyJohnson' post='252490' date='Aug 1 2008, 08:58 AM']It's Novax Guitars [url="http://www.novaxguitars.com/index.html"]Novax[/url] P[/quote] Or even better: [url="http://www.wlguitars.com"]Wes Lambe[/url] makes them, and for about a $1000 cheaper! Great instruments.
-
Can you post the video. As said, i don't think there are any chords in the album version. Just the riff which is A to C. The pentatonic riff in Gm and then some pedal notes on the "higher baby..." bits.
-
All PM's replied to. Item is SOLD pending payment and collection. -
With the funk/jazz band i play in occasionally (They are usually a trio called MC3, i occasionally make it MC4). I am there, just off to the left though! Same band doing some outdoor function thing.
-
You can really hear the fretless sound at about 2 mins or just before when he plays a lovely bass fill.
-
The riff is actually a part played forward and a section attached to it which the tape had been reversed as said in teh above mentioned clasic albums program. It was put in supposedly because it was Bakhiti's birthday. However, I don't believe its the same forward section reversed, as the notes/rhythms are different. Apart from the great playing from Bakhiti (and it being fretless with minimal vibrato), I suppose the only thing that makes the sound is the EQ'ing and compression. What a bass sound though.
-
With my bass case on my back: Friend of a friend, to my friend: Does he snowboard? Friend: (Looks at his mate like an idiot) It's a bass! Friend of a friend, to my friend: (Obviously feeling like an idiot) Yeah of course it is...but he looks like he snowboards! Does he? And another time when walking out of a gig about midday: Very drunk man: excuse me, can you come over here. Me: (Walks over) Very very drunk man: Can I ask you something? Me: Yes V.v.Drunk man: That thing on your back!? Me: Yes V.v.v Drunk man: Is it a giant spoon!? Me: (Walks off)