OliverBlackman

yes iv owned it since the day it was released and t is awesome. If you like the Hydrive sound its the best cab ever

unfortunately when i started looking at for my first fretless i had a go on several rockbass' and they all had the same major problem. The ebonised finsh on the fingerboard doesnt give a realistic fretless tone. So you wont ever get the "fretless tone" you would hear on a record without putting an ebony or decent rosewood board on there. I was lucky and managed to get a fairly cheap German Warwick with an ebony board, so i recommend you try out a few fretless basses and once you know whats good look in the for sale section here. +1 to everyone who's recommended fretless bass its great fun and great for your ears

[url="http://basschat.co.uk/index.php?showtopic=122548&hl=acm"]http://basschat.co.uk/index.php?showtopic=122548&hl=acm[/url] that topic has a good looking place recommended by jakesbass.... I think the institute is very small and laid back. Both arn't appealing to me but horses for courses and all that.

soundcloud and spotify are where most people go. Soundclouds the easiest to sign up to

[quote name='RhysP' post='1152478' date='Mar 7 2011, 01:49 PM']Being a good player is absolutely no guarantee that you'll be a good teacher.[/quote] i didn't say player specifically, but i did mean both. Trouble is a good teacher should have a good grasp of musical knowledge but also can come up with idea's of how to get this knowledge across to the paying student. Iv found when teaching that each student learnt things in a different way meaning if i made plans i would ether have to alter them slightly or scrap that and do something more beneficial. If someone uses a book to tell them what method of teaching they should use, then your not being as efficient as you could be as a teacher. Plus the student will have to a) buy the book, and b ) pay for an assessment. Both (when using Rockshcool, trinity arn't too bad) are massive wastes of time and money.

I just put up a poster in my local shop and got a bit of interest. I think the best thing to do is teach at a store. This is good for both you and the shop. For you it means you may get more interest because people will associate your lessons with the store and if they like the store they will think your more credible. For the store they get more business if you sell it to your students right. An increase in sales may lead to them bringing your rent down as my dad found. There is also busking but don't busk too far away from where your going to teach as even if people are going to be interested they may be put off by distance. Also Rockschool is an absolute sin, i wouldn't put anyone through it personally. If your good enough to teach you don't need a book to tell you how to do it. The best thing to start with is songs, because thats why people pick up the bass, to play songs.

learn the intervals that make up a scale and then find songs that use these scales. Such as a lot of funk stuff like good time use a Dorian scale. Then you can really see how these boring scales can be used to make something much more interesting. Once you know what scale that bassline/ riff uses then improvise with the line and find your own way of using the scales to make something you enjoy playing. After all if its not fun your not going to want to do it

check out this video .... www.youtube.com/watch?v=x2KuCXCVjS8

everything flat and maximise the potential of what your fingers and your bass can achieve

[quote name='dumelow' post='1136642' date='Feb 22 2011, 02:04 AM']i think he probably has acted like a dick most of his life though, most musicians do. just a good job that most of the time when i listen to music i dont have to be in the same room as them[/quote] the music scene is so pressured that the players that do succeed have been through a lot of rejection and hard work to get there. Does this give them the right to be arrogant? not all the time, but its accepted in music that its how it goes. Having said all this i met Paul Turner today and the man is not at all arrogant but instead is very helpful and down to earth. Also what an amazing player! His timing is incredible, also Rob Harris and Derek Mackenzie are equally fantastic

[quote name='crez5150' post='1135772' date='Feb 21 2011, 05:01 PM']I'm hardly a Bedroom Snob... Bob...... and I have met him.... hence my cock reference.... but as Martin (MB1) told me.... he was a nice chap when he met him[/quote] first time i met Janek Gwizdala i thought he was arrogant. Met him a year later and realised it was me just not really understanding him or the full extent to the industry he is in. From what iv heard of Guy i don't think anyone on here has a right to say he's not that good.

aha i thought it was just me, i even made serveral calls to vergin media saying the internet was dodge

[quote name='gareth' post='1132493' date='Feb 18 2011, 05:38 PM']No - I just picked the bass up - photos to follow [/quote] best bargain ever if it is true, the prices of vintage fenders just seem to keep rising

The best way to do it is to stick yourself into a situation where you need to be able to sight read all the time, for example a big band. The pressure is huge and there's nowhere to hide but the embarrassment at the beginning will be worth the rewards in the end.

First Bass: Jim Deacon Go to: Overwater Jazz 5 My bass: Fender p bass

ahh completely missed the bart pickups.... Not so much dream bass now but it looks nice

wish i could afford this, dream bass in the perfect colour [url="http://cgi.ebay.co.uk/Bass-Guitar-Fender-Jazz-69_W0QQitemZ130484733995QQcategoryZ4713QQcmdZViewItemQQ_trksidZp5197.m7QQ_trkparmsZalgo%3DLVI%26itu%3DUCI%26otn%3D3%26po%3DLVI%26ps%3D63%26clkid%3D7017853308326272593#ht_581wt_936"]http://cgi.ebay.co.uk/Bass-Guitar-Fender-J...93#ht_581wt_936[/url]

is LCCM new Jake? I'v never seen it advertised before but it looks to have good courses

I think i was in a similar state when i joined ACM, i was only up to grade 4 and although i knew a major and minor scale that was pretty much it theory wise. The whole sight reading thing is just to make it look like standards are high. There are second year bassists who can't sight read amazingly and the reason is it takes lots of time to develop and can be between a few years and 10 years to get it right (obviously depends on the person and how much you practice). I was unable to read music when i joined ACM however after a lot of hard work in higher diploma i now find i am ok at it, not at all great or even good but i can get through a simplish chart. The main advantage that ACM has over the other institutes is that its huge! It has loads of students and lots of teachers. Do of course though look around the different places first, ACM was just the one that stuck out for me and i wouldn't have chosen anywhere else to do the higher dip.

ICMP is smaller and has fewer teachers and fewer students. Also Kilburn isnt a very nice place compared to Guildford. ACM'S higher diploma course is brilliant and is definately worth the money if your serious about becomming a musicman. I am biases however, and i know my mates at ICMP will disagree on me. They call it "GAYCM"......... Drummers

The reasons why berklee is such a success is because its such a tight community within the students and because its right next to New York. The course is very similar to one you would find at ACM, ICMP, Brighton, GuitarX, Bootsies university of funk. You would probably learn something but i think a local teacher should be able to teach you the same.

[quote name='risingson' post='1122191' date='Feb 10 2011, 12:37 AM']I appreciate that slap long predates all of these songs we're talking about, but the production methods and the way the slap part is quantised and spliced together via electronic means are the attributes of a much more recent development in music. There isn't a particularly 'live' feel to the bass in the Katy Perry tune, and it's something that was very synonymous with Justice's (and a few other people's) style of bass production. That's all I was saying really, and I don't believe it to be coincidence I liked Justice, but to be honest I take great interest in hearing a lot of top 40 artists 'borrowing' production methods that have evolved from other artists. In relation to the original question, slap bass isn't going to make a comeback just because it's been used in one Katy Perry tune. Like you say, slap has already happened, it's already been a big thing in the 70's and 80's L.A and N.Y.C recording studios largely thanks to a lot of session greats who used it to great effect on a lot of records, i.e. Marcus Miller, Louis Johnson, Freddie Washington, etc. the list is exhaustive. Bass needs to evolve by other means rather than repeating what's already happened. Radio one is awful for most of the time, but I listen because it's in my interest to know what's happening with popular music right now, and I like to keep abreast of what music might be popular, regardless if it's good or complete crap (usually it's the latter )![/quote] The production on that Justice song is incredible. Its a shame producers don't get that much time on a top 40 record anymore

When did slap go away? Its consistently used in dance records but as a subtle octave riff rather than the full on victor wooten/Mark King styles we see on youtube.

A P bass is the place to start, a 50's or 60's replica would be great but the current American Series are pretty good too