skej21

[quote name='fretmeister' timestamp='1495140643' post='3301653'] I can see Mr Hall seeing this as a promotion of things he doesn't like. [/quote] Quality instruments at a decent price that arrive in a reasonable amount of time?

Are any other northerners reading this, thinking "fingerless gloves?! It's got to be -50 before I put a jumper on!!"

[quote name='Sibob' timestamp='1493399939' post='3288119'] Yeah I use that technique all the time, so was fun to hear Michael talk about it . Got it from Ryan Martinie yeaaarrrsss ago. Combine it with an octave down pedal for biiig low end Si [/quote] Funnily enough, me too! Couldn't find a link to it easily though and I watched that League vid the other day so knew it was definitely in there!

Personally, I spent hours refining our covers set. I arranged every song in an interesting way, mashed up classics with new songs, rehearsed it with the band to perfection, got really excited and then went out to play it at a wedding we got booked to do and 90% of the guests were hammered and ignored us (apart from the dancing). Alternatively, spending hours tailoring lessons to help encourage and advance a promising pupil, only to find out they've turned up and not practiced the last lot of material... again. That's not fun. That's work. I don't go on Facebook and shout about it because nobody really cares. I use social media for just that. My social life. If that's a quick video of something I'm practicing or sharing a new pedal I bought and what it can do then that's fine. There's a large community of bass players who use the medium to engage with each other (just like basschat but with less places to hide). I also find it's a much more positive, less cynical and a more open-minded type of engagement than a lot of the cyclical 'Jaco didn't need five strings' or 'P bass and Ampeg, the only thing you ever need' arguments that rumble on some of the Forums.

[quote name='Stylon Pilson' timestamp='1493372709' post='3287813'] So here's something that's been on my mind lately. You know how when we play an open E, we're not actually hearing much of the 41Hz fundamental, however the harmonic content is sufficient for the brain to interpret it as an open E? Would it be possible to process that existing tone in some way, without actually adding any lower frequencies, to trick the ear/brain into thinking that it's actually hearing a note that's an octave lower? Has anyone made a pedal that does this? S.P. [/quote] Not sure if this answers your question but if you fret a note (let's say a Low G - 3rd fret on the E string) and attack the note over the octave above (15th fret on the E string, over the fret) it produces the low note and a suboctave at the same time. Maybe playing everything in a higher register using this technique would produce the effect you're after? I'm not sure if I described that properly but this video shows a good example. Skip to 3:37 :-) http://youtu.be/WI5Eg5Whu-8

I can hit my strings and make percussive sounds, it doesn't make me a drummer. I have pitches above the traditional bass range, it doesn't make me a guitarist or a pianist or a harpist etc. You can still be a bassist and have a range bigger than 4 strings.

Winging it is fine for a late notice dep gig or a buskers night etc but if you want to make the music your own and have some interesting arrangements, it means a bit of work prior to playing (either rehearsing or learning a pre-written arrangement). Makes the band sound much more professional and gives it all a tightness that can be compromised slightly if someone's winging it. I much prefer to be well rehearsed and the sound that produces.

I'm not sure if anyone else has found this but I lowered my action thinking it would help, used lighter strings (which to be honest, were worse as they have less tension, were more floppy and as a result had more of a tendancy to slap off the frets when I did dig in, even with a decent light technique) but the thing I really struggled with was how quickly my tone deteriorated as a result of a low action. Has anyone else found this? I thought at first it was my adjustment in technique but then realised that the lower the action was, the more it stifled the tone of the instrument and I ultimately decided to heighten the action a little bit. It has vastly improved the tone from the bass and I adjusted to the higher action fairly easily once I'd put some heavier strings on.

[quote name='bazztard' timestamp='1492661349' post='3282048'] and to do it in such esteemed company too [/quote] No rehearsals either, according to this (which is a great read). http://www.bbc.co.uk/news/entertainment-arts-39632898

I've got an Aguilar TLC and my Spectracomp has taken its place. Just as good and takes up lots less space on the board. Hugely impressive little pedal :-)

I spend about 20/30 minutes a day playing through a Spotify playlist of songs I don't know. I try to use the same playlist for a week. Day one, I play through the song with chords up on my iPad and I aim to be able to play through the playlist fully, allowing for getting my ear in for the first verse (and chorus). After this, I then stop looking at the prompts for chords and rely on my ear to guide me. Day two, repeat the process but as I have more familiarity, expect to be able to pick it up within the first 8-16 bars and remember what had been played the day before. Day three, I usually have the initial structure memorised and then concentrate on the groove elements and putting a bit of personality into it. If the band have any links or specific ideas to them, I get those locked in at this point too. Day four, adding any fills or embellishments I think would work and having a bit of trial and error, keeping the good bits. Day five, either treating it like a gig or actually playing it at a gig (if the process is for a dep gig). I think because I do this regularly, it's improved my memory and ear to the point I can usually learn a dep set of up to 2 x 45 mins in about 2/3 days at a decent level. Maybe a day more if they have specific structures or links, pushes or other bits that need adding in. It's good practice if you get thrown in at the deep end in a jam etc too!

It's mostly drum-related and not "trad" jazz and might not be for some but I watched this the other day and found it really inspiring. I've always loved Jojo's playing and this just shows how great he is as a musician first :-) http://youtu.be/sJMsc8le6_E

Looks great! I hate the idea of spending so much money on a pickguard but looking at deacon's original in the pics, a Spitfire would really give it that edge. The one piece Alder looks really smart too. Jon's done a great job :-)

[quote name='Grangur' timestamp='1492032688' post='3277430'] But using a Fender logo is more akin to using a Ford badge. I saw someone on here ages back go to a lot of trouble to build himself a really classy bass. It was all handmade. Then he put a Fender logo on it. So there was a beauty of a bass pretending to be mass production. I never understood that. [/quote] I imagine in this case (as with many others), people are trying to capture the true Fender era basses that were handmade and had the same level of detail as the bass you described, before Fender became synonymous with mass production...

[quote name='dood' timestamp='1488319094' post='3247962'] Yup Fair comment Ok, here's a clue. My favourite bass player did something to his basses in the late 70's to mid 80's. This will end up being a tribute model in that spec. Kinda... a work in progress if you will! Rumour has it, the instrument in question is nearly ready! In other news, I've been editing my Matsumoku made Aria Pro II '76 Precision bass too and will be reposting some pictures of that. It's so close to a 'real' precision that all of the Fender parts I've bought to upgrade it with are an exact fit. Even the pickguard!!! Ash & Maple for the win. [/quote] Does it include a natural finish and a bunch of blue picks (tortex?) rammed down the side of the pickguard by any chance?

[quote name='nash' timestamp='1491982186' post='3276861'] Can anyone enlighten me? I see it often, Squiers, bitsa, Nash, Lime Light and some that have a headstock shape that's not even close. I Squier rebadge for example. I think so what if it's a Squier, big deal. If it plays and sounds nice then that's all that matters and then credit where credit is due if it's a good bass. I just don't understand it. [/quote] I think if you're intentionally trying to recreate something that is above and beyond your budget, sticking a Fender decal on it when it's an intentional Fender repro (like a Nash or Limelight) is just good attention to detail and keeping the style correct. If you don't want a Fender repro but want a jazz/pj/Precision at a similar price then new Fenders (MIM/MIJ etc) or Maruszczyk are in that prt of the market, so just get what YOU want (it's your money after all). It's just another option on the table and if doesn't interest you, then it shouldn't bother you either. If you were making a spitfire airfix model, you make it look as close to a spitfire as possible. You're not doing it to deceive anyone because everyone who actually knows anything about it knows it's not an ACTUAL spitfire and you wouldn't ever try to sell it on gumtree etc as an actual spitfire. I much prefer that to when people put on a decal that is styled just like a Fender decal but incorporates some tenuous dad-joke like "pretender gaz bass" or someone's surname etc. It makes me cringe like hell (sorry if that's you but it's just really not my thing!).

[quote name='wateroftyne' timestamp='1491855622' post='3275959'] There's a lot of noise out there, and these guys have to play the game if they want to be heard. As for fast-cutting the videos, blame us. We've developed terrible attention spans. [/quote] I'm not sure what you mean... *runs off to binge-watch an entire series on Netflix* Joking aside and in response to the general topic, I often find that Janek's video topics are often mirrored in Scott's videos a few days later. Like you say, a lot of noise and it's often difficult to get to the really good stuff but what we forget is that all of the 'free' videos like Janek's VLOGs and Scott's free lessons are all there to tease at what is on offer at VBL or SBL, which they want us to pay to be a part of. They aren't ever going to give everything away for free, in a concise, direct way because that's bad business and these guys have to put food on the table.

Here's another modern bassist who divides opinion. http://youtu.be/IfNsVwPjcO4

[quote name='Grangur' timestamp='1491030765' post='3269913'] Yes, I too feel some envy for folk who are honestly happy with a single bass. What we don't know, of course, is if those lucky guys are active bassist or if they play simple lines in a band once a week, and never touch it from one week to the next. [/quote] I ordered a custom bass to my spec and it's perfect. I still practice 2/3 hours a day with regular gigging and rehearsals on top and could honestly say that I could happily only own that bass and be happy. It can do everything and feels perfect for me. I have more but rarely pick them up and feel happy playing them. It is possible, you just need to find the right bass (so buy more until you find it !)

[quote name='Sibob' timestamp='1490608066' post='3266284'] Yeah, tried a little while ago, but failed. Definitely on a mission again though, so will try again Si [/quote] It'll be interesting to see if the database throws up any earlier ones!

[quote name='Sibob' timestamp='1490607143' post='3266267'] Thanks, added! Yours is actually already registered on the database as I think it used to belong to Wooks of these parts?! If you weren't aware, yours is the earliest one I've seen, April 1982, one month older than my earliest Octaver Si [/quote] Wow, that's pretty cool! You ever tried to contact Janek Gwizdala about his? I imagine he has some pretty early examples in his collection!

[quote name='Wooks79' timestamp='1490289393' post='3264015'] I've shifted my earliest one on now, someone else is enjoying it [/quote] Yup, it's currently sat happily in my signal chain. Thanks again!

[quote name='markstuk' timestamp='1490449341' post='3265227'] But you're the bass player, we're supposed to put up with this sh*t Sounds like you've acquired a few airs and graces Mr "too big for your own boots". I would have done the same.. How did he cope before you joined the band? [/quote] Same way he coped after I left... found another mug to be his driver lol!

Just quit a band because the band leader didn't drive and has the PA. So he expected me "being the closest to him" to drive to his, pick him and the PA up (which was 30 mins drive from mine) and then go to the gig/rehearsal and then the same on the way back. I did it a few times but when it became and expectation with no petrol money contributions and the "I'll have another pint" while I'm waiting to leave, it got too much. One particular gig I had to drive 30 mins to pick him up and then 35 mins to the gig but it would've only taken 20 mins from mine to the gig. I don't think I even got a thank you for that one...

I've never had the "never call back" thing as most of the auditions Ive done, the people have been really nice and polite and always got back either way. To be honest, I imagine it's almost as frustrating to never hear back as it is to have them ask you on the spot, before you've even taken your bass off your shoulder "we want you, do you want to join?!?!?".... For me, both parties should be allowed to leave without discussing it in any real detail and inform the other people of their thoughts within a day or two, because when you're put on the spot, you are hardly going to say "thanks but no thanks" in a room full of 5 or 6 people who are anxious to find someone and get things going!