Mrbigstuff

Are you referring to the 4 bar pattern where the lyrics start with "Im a proud, proud man"? If so these are the fills. I would recommend playing them on the D string to get the "darker" tone that he gets.

[quote name='Sonic_Groove' timestamp='1414450471' post='2589510'] On Spotify [url="http://open.spotify.com/album/03mVQ06oXKiSqWMqdcp1Ej"]Bobby Vega – Sketches Of Bob[/url] [url="http://open.spotify.com/album/1qwKKWtWr9KFpbMPplkPoh"]Bobby Vega – Down The Road[/url] [url="http://open.spotify.com/album/2HqPGPgstjWz86SsIEylBu"]Bobby Vega – Bobby Vega And Chris Rossbach[/url] B [/quote] Really like some of the songs he did with Chris Rossbach! Any other suggestions with him as a sideman? [quote name='Wonky2' timestamp='1414485424' post='2589624'] Check out the tower of power back catalogue.... What is hip is his puck style down to a t [/quote] He said he started the pick style so he could play what is hip!

I've seen a few videos of him and love his pick style but haven't heard him on a record? Has anyone got any recommendations? YouTube links or song/ album names would be appreciated.

It is my opinion that the; age, treatment, and origins (humidity/ weather) of the wood makes more of a difference to the tone than the wood type.

Although its nice that everybody contributes it can be very confusing. I would advise to seek ONE teacher or ONE book, mostly because although the theory is the same, the way in which it is communicated is often different, this thread being a great example.

I've owned a few "high end" basses and have, for the first time since I first picked up the instrument, ended up with just one. A MIM Precision, although with a few mods. I'm constantly surprised by what it can deliver, and I definitely don't miss having a B string. If anything its opened up the fretboard. I do hanker for a 70's Jazz bass but I wouldn't need it, it would just be fulfilling a long standing desire.

I never bothered to notate the chorus and pre-chorus but here is the verse groove. I did this what seems like a very long time ago so apologies for any inaccuracies.

Had a very good transaction with Mark. Hope you enjoy the bass!

For me they both have a very strong sense of rhythm and that is where the similarities stop. Pino is quite a mellow bass player and very articulate, where as what I've seen of Sharay, he is more of a chop buster. Personally I enjoy seeing both of them excel in their own strengths. If I had to choose someone to do a session with it would be Pino, though only because I think i have more in common with him than Sharay.

[quote name='JazzBassfreak' timestamp='1404760207' post='2495511'] So "Lil Wayne" has talent after all? [/quote] People usually define talent as someone who is really skilled at something. Are you saying Lil Wayne or Will I Am aren't highly skilled at anything? The skills they have chosen to obtain may be different to what you would like to think are "good", but the fact is they can do something very well, otherwise they wouldn't be successful. It's just that you don't like that particular thing that they do but unfortunately for you many other do. Not saying I do, but at least I'm not naive enough to think todays music is all crap, purely based on personal taste.

[quote name='ambient' timestamp='1401827499' post='2467361'] I think it must depend on the college, but also maybe the course ? I auditioned for and was offered a place on the degree at BIMM in Bristol. That was a BA in contemporary music performance. I wanted a BMus because I planned to teach at further education level. I auditioned where I'm studying now and had to do the HND first to get aspects of my playing to a high enough level. [/quote] I'm going to reply to this in two stages. 1. If you're planning to teach at a contemporary Music college/ university, most choose their tutors based on experience in the industry. So its important to have had a career as a performer first. They do this so they can entice potential students. My mum is a director of arts at a college, and she says that to get a teaching job at her college usually requires the candidate to have completed a masters. 2. Not many people will have the skills they need after doing a 1 year HnD (Not saying you don't). It takes a lot of time (some say 10,000 hours) of practice to get good. Most of the people I studied with at HnD, who did not follow onto the degree, don't have a career in music or the skills to do so. Its important to realise I am not aiming at just you Ambient, but generalising so people have a clearer picture of what it means to go to music college. Something I wish I had before choosing where to study.

Not going to read all of the replies but just going to offer my view. It depends on the college. I know that Berklee has an extremely high standard as does the Royal Academy in London. However, as a music college graduate I agree with most of what bilbo has said. In the 2 years since I graduated I have gained the skills to be proficient in playing to a high level, through studying books and with a tutor. When I left the degree (Which I got a 2:1 in), I was nowhere near the standard I should have been. Yet because of the students and tutors feedback we all thought we were pretty good. I think it was because; A) they let anyone of any standard in, even after rigorous auditions. The tutors just taught enough to pass a certain basic level. The guys who were on the course and have a career in music, were already at the high level before they attended. For example Ed Sheeran attended for all of 2 terms before getting snapped up. So, the degree is more of a security blanket incase music doesn't work out. However, no-one outside of music wants to employ someone with a music degree! Therefore if the idea of doing a music course is to network, why would you study anywhere outside of London, LA or NY, where the industry is.

[quote name='BassTractor' timestamp='1400701990' post='2456311'] Thanks, Oliver, for trying. However, and I'm not sure about this, I think you answered the question "How do I work on MY intonation" whilst I meant to ask "How to start working on the best placement of the individual saddles", seeing as that Gaf had worked on the bass's intonation and got it to be spot on. Language, eh? [/quote] Haha, whoops. Should have paid more attention! Very nice bass Gaf, and played nicely to.

[quote name='BassTractor' timestamp='1400687830' post='2456125'] BTW, what is the smart/quick way of starting to work on the intonation of a fretless? Simply measuring up 17" from the nut and remember/mark that point, or? [/quote] You can do that, or if you really want to develop your hearing in the process the alternative would be playing along to music. If the recording/ players are in tune, you will hear when you are out. Then by correcting what you hear your muscle memory kicks in and remembers where the correct spot is. It is much easier on a familiar style of neck, such as a Fender compared to say a Warwick. Unless you don't play Fenders and play Warwicks. Then you stop thinking you're Stuart Zender!

I've written a similar reply on here a few times but these are just my thoughts. I've played quite a few vintage Fenders, from a 60 to late 70's, and despite the playability and condition differences there was a part of the tone each of them shared that I love. The way I describe it is as a dark, earthy, wet kind of sound. Something closer to the DB tone than modern basses achieve. Now I've discussed with a few people why modern basses don't share this sound. Lots of people say it comes as the wood ages but I think the most likely reason was that there were less restrictions on what woods could be used in those days and as a result some of the trees cut down to make the guitars were old trees and had experienced different conditions to those coming from india and china, or those that are grown specifically to make newer guitars. I've tried hundreds of Fender replica's; Tokai, AV's, AC's, Nash, Fender Re-issues and none possessed the tone that I hear from an original vintage Fender. The closest I've come is Thomastic flats and Lindy Fralin P/U's on a standard P. So for me, an old fender is definitely with the money as I can't find anything like it.

Re Skype lessons, It depends on both your connection and the teachers connection. I've found when having meetings on Skype that the connection usually reduces in quality around the 45 minute mark. Also as a beginner your main concern will be getting the right technique. This will be hard to address over Skype for a teacher as they will not be able to get the full picture of how and where you're positioning your hands, and strap. I get lessons over email, which suits my needs but these are purely just on exercises to improve my improvisation and theory, so it works for that. There are many great bass players in East London, I'm sure I've seen some in the "tutor" section here on bass chat before. Regarding playing through your PC. You need a recording software such as Garageband (not sure if you can get this on PC) or equivalent and a USB audio interface. An interface should cost just over £100, and will allow you to practice through headphones.

This is related to something I experienced recently. In my 23 years of life I've had 9 basses, some of them really expensive, some of them not, 4 strings, 5 strings, fretless ect. But a lot of my favourite bassists tend to be famous with just 1 bass. So I decided my favourite was my Fender P. I stuck some TI flats on it, and just use the one bass. I've been amazed at how much better my playing has got, and how easily I can translate ideas onto a familiar fretboard. I can also get an incredible amount of different tones through fingers and the one tone knob. I do want a late 70's jazz though, as I really like Marcus Miller, but that can come when I can afford it. Everything else is just needless GAS . Being poor also helps though!