samkeen

Hi, Something that helped me was to look at chord progressions (not the root notes of the chords, but the relationship between them) , i.e. going "ok, this is a 2, 5, 1 progression" rather than "ok, this is D minor, G7, C major progression". It means that if a tune I know is given to me in a different key, it doesn't matter so much, I just need to do a little bit of fingerboard readjustment rather than spend most of my time staring at the sheet in front of me! It also means you can think "I like the sound of a root chord moving down to the chord over the major sixth" or whatever, then use it when you're noodling. Start to think about more complicated chord progressions, play around them and see what you come up with. Also, just enjoy yourself. If you're worrying that your chords are always the same whilst you're playing, you're probably not having as much fun as you should

A few more CDs up today, I think there's 60 or so now. Highlights for us bassists; Best of Charles Mingus, Jaco Pastorius - Invitation, a couple of Marcus Miller albums. Largely jazz or jazz influenced, so have a browse if that's your thing! Cheers

[quote name='BassJase' post='717689' date='Jan 19 2010, 12:03 PM']Lovely job, just bid on a few. [/quote] Thanks man Are you the one bidding on the Marcus Miller CDs? Some great tracks there.

[quote name='budget bassist' post='717641' date='Jan 19 2010, 11:31 AM']without being a smarrtarse (ok, maybe i am), CDs [i]are[/i] digital had a look though, not really my sort of stuff[/quote] hee hee, yeah I realised it was pretty bloody silly after posting! Thanks for looking anyway.

Hi all, In the spirit of decluttering, going digital and most importantly, going travelling (set for next month - hooray!), I am selling most of my CD collection. That means some good music at crazy ebay prices. Please do me a favour and take a look at [url="http://shop.ebay.co.uk/samromkeen/m.html?_nkw=&_armrs=1&_from=&_ipg=&_trksid=p3686"]http://shop.ebay.co.uk/samromkeen/m.html?_...p;_trksid=p3686[/url] and see if you can pick yourself up a good’un! There’s around 40 – 50 CDs there at the moment, but I’ll be adding more in the next couple of days. Largely jazz, but a good smattering of everything else too. Thanks guys! Sam

Sorry to be so samey but my vote's got to go to Vic too. So many amazing solos... I just stumbled upon this little gem yesterday, a great little solo on The Beatles' Yesterday: [url="http://www.youtube.com/watch?v=gcXI74PaI2w&feature=related"]http://www.youtube.com/watch?v=gcXI74PaI2w...feature=related[/url]

That's completely normal when you begin to learn, don't worry! As I said try to get as much action through rotation of the wrist, once that feels natural you'll find it pretty comfortable, fast, and not too tiring. Little hint; don't do too much popping when you begin, as blisters are inevitable! Take it easy

Hi there! There are a couple of ways to produce the slap sound using your thumb - you can either bounce it off the string, or you can 'thumb through'. They both work really well, have a look at players like Mark King for the 'bounce', and Victor Wooten for thumbing through. Here's a vid of thumbing through if you're not sure what I mean (watch Victor's thumb, it glances off the string and comes to rest on the string below: [url="http://www.youtube.com/watch?v=nq7IxvfOxTQ&feature=related)"]http://www.youtube.com/watch?v=nq7IxvfOxTQ...eature=related)[/url]. I like to use both techniques at different times, depending on what's needed. I find the bounce gives me a bit of a brighter sound, but thumbing through can be really useful for certain lines. I'm guessing you're trying to bounce? If so, you should try thumbing through (you might prefer it, and it'll get you slapping), but I also recommend you try to make the bounce as fast as possible, so the thumb doesn't get a chance to mute the string too much. Make sure you're hitting the string with the boniest part of the thumb joint, and work on rotating your wrist, it's this motion that gives you speed, rather than moving your whole hand. Hope that helps. If you run into trouble keep posting - most of us are friendly!! Sam

Bad luck with the tendon - is it a fairly easy mend? I think old Francis Rocco Prestia's a good example of holding down a great bassline without using his whole left hand (I think he only uses his first two fingers!), perhaps have a look at the way he plays. All the best and hope you're recovered soon! Sam

[quote name='Mykesbass' post='653225' date='Nov 12 2009, 11:47 PM']Doing this incredible stuff to me is like guitarists and shredding - there's always going to be someone to come along and do it faster with shredding, with bass, always someone to push the technique even further. In the end we'll always be going back to the James Jamersons, Bernard Edwards and Norman Watts Roys of this world.[/quote] I know it's been said on this thread before so I'm just reiterating, but it's important not to look at the technique but listen to what he achieves with it. Technique's the key to better self expression. If the technique's what's being expressed, i.e. "look at my flashy chops" then I completely agree with you - we'll always be drawn back to people with something to say rather than people who say nothing but say it really really fast! I don't think this is the case with Michael though, I think his techniques let him speak more fluently.

Thanks for your posts guys. In the end I've opted for the Thomastik Infeld Jazz Roundwounds, they're nickel plated and are also quite finely wound, so shouldn't do much damage but still sound and feel nice.

Hi guys, I'm about to take possession of a fretless bass with a Brazilian Rosewood fingerboard. I've been in touch with one of the previous owners, who told me that it's possible to use roundwounds (which I'd prefer) as long as they're not stainless steel. What materials do you recommend? Nickel's the obvious one, but would gold plated strings work too? I imagine the gold's fairly soft compared to stainless? What about coated strings? Thanks all! Sam

It all depends on how competent you are slapping without having to use open strings. If all you can do is slap in E minor then it's all just w*nkery as others have said. If you're able to develop the techniques so that you can play anywhere on the bass then it's just as good a tool for expression as any other. I love it

Some people are saying that they're in tune across the neck at the same point on the fret marker and Willis says he isn't - perhaps some luthiers are addressing the issue Willis came across and compensating the fret line position?

Thanks guys!