velvetkevorkian

The problem with putting the bow through the bridge legs is it can make an ungodly racket if you're not very careful- fine when you're changing between pieces but good for provoking the conductor's wrath if done in the middle of a piece! Also, I would worry about it rattling? Pete1967, I take it you play German bow? If the OP is also playing German the last method you suggest is excellent (from what I've seen of other German bow players); if you're playing French bow though it doesn't really work, for me anyway- my fingers are too big to fit through the frog! Instead I just use the second and third fingers, without changing the bow position much- that works for all but the most frenetic pizz stuff IME.

[quote name='ashevans09' post='679199' date='Dec 9 2009, 03:55 PM']That bass is made of win[/quote] I concur. Awesome.

[quote name='thisnameistaken' post='679621' date='Dec 9 2009, 09:57 PM']We've got two songs in progress at the moment with weird beats, that our guitarist (who wrote them) wants to play in a reggae-ish style. Am I being creatively weak here? Would it be defeatist or obnoxious to just say "If you want a reggae feel you need to put something on beat 3"?[/quote] Given that the reggae style is pretty much defined by the rhythm, I don't think it should be too much to ask. I've played in a "reggae band" with people who had no idea what reggae really is and it really falls on its arse in that case.

+1 or even a 2u like the Pod XT pros. The 3u X3 pro is just stupidly big IMHO.

That's usually fine, although obviously make sure you have enough time to pick the bow back up, and make sure the conductor doesn't mind. Just remember its a bit of a different sound you're usually going for as far as pizz goes in an orchestra, IME.

What he said.

[quote name='Eight' post='676197' date='Dec 6 2009, 09:54 PM']I started doing a lot of exercises that encourage that and find that when playing I instinctively do it when it feels right (does seem to help a bit with speed, stamina and getting nice legato) but it's not something I actively think about. Might as well keep doing the exercises and see what happens naturally.[/quote] Exactly right IMO.

I think its a good exercise but I wouldn't try and play that way all the time. Its good to build up hand strength and finger independence but its impractical for playing actual lines IMO. As ever, YMMV.

They've had ads up on TalkBass for a while- there's a pretty big thread about them in the basses section there where they seem to go under the brand of "Valve Amp". First time I've seen them in the UK though.

The Peer Gynt suites are fairly straightforward- been a few years since I played it but Hall of The Mountain King has a good bass melody- everything else is pretty much texture as far as I recall. I'm sure you'll have no problems.

You make pensioners carry your rig? That seems a bit harsh.

I would take a guess at it being more to do with a decent PA and a sound engineer who knew what they were doing. I spend so much of my gig-going time at crappy toilet venues with semi-competent engineers that hearing a decent mix over a decent PA can be a bit of a revelation.

"Clean up the live sound" is a bit vague- maybe you'd be better off trying to quantify what you're not happy with in a bit more detail so you can target that specifically, rather than adding extra bits of kit?

The best thing I've found for getting fingers in the right order is to number them (I.E. index finger=1, middle finger=2) and then say the numbers out loud as you play the lick. It makes you feel like a tit but it does work!

Yes- a long orchestra rehearsal will seem even longer if you have to stand while the conductor goes over that tricky passage with the woodwind fourteen times! That said, a lot of rehearsal venues will have suitable stools available which should be no problem for you. edit- do you know what pieces you're going to be playing?

If you're used to playing trumpet then you shouldn't have any trouble- most important are the basic orchestra skills (IE watch the conductor, have a pencil, etc). The bass part is usually (but not always) doubling another part in the orchestra, often the cellos or the heavy brass, so know your cues in that respect in case you get lost. Hearing yourself shouldn't be that big a problem; if it is hang your head forward in front of the bass for a few seconds to check, or put an ear against the neck. Are you playing as part of a bass section or will you be the only bassist?

[quote name='beardybass' post='668037' date='Nov 28 2009, 09:50 AM']Pitchshifter with Sona Fariq and the Workhorse Movement, at Northumbria Uni. Not sure when, good few years ago though, It were a good 'un.[/quote] 2000 or 2001 I think. Funnily enough my first unaccompanied gig was the Glasgow date of the same tour, although I'd been to see Garbage, Idlewild and Belle and Sebastian (I think) play for the opening of the Scottish Parliament in Edinburgh with my dad which must have been 2000. Seems like longer than that!

The 7th in the harmonic minor scale is raised a semitone compared to the natural minor. edit: [url="http://en.wikipedia.org/wiki/Harmonic_minor#Harmonic_and_melodic_minor"]Wikipedia link[/url]

Took it into the Violin Shop today and they reset the soundpost and cleaned up my dubious bridge work in about half an hour, then popped a few doors along to where I was having coffee with my dad to let me know. That's service. £15 all in, which is their minimum charge. He did remark on the bridge warpage- suggested probably a combination of high tension (it's a five string) and cheap wood, but not an immediate problem.

If by "new string squeak" you mean finger noise when moving along the string, surely that's just part of the longer lasting treble coated strings have? That's my perception as a long time Elixir user anyway.