skej21

[quote name='yorks5stringer' timestamp='1322153886' post='1447336'] Will there be any pedal reviews for left footers as well? [/quote] I need a left handed strap and plectrum too, so some additional info on that would be great. Joking aside, I think Silddx makes some really good points about writing style and trying to have some appropriate reviewing criteria in place so that the reader has a benchmark to judge the review and products against, rather the existing benchmark of everything being a 4/4.5 star.

Must admit, I never really understood why Geddy is so highly rated. As a fan, the OP can't remember the last great bass line he put out. As a non-fan, I can't remember hearing a Rush track and thinking 'Wow, that is some great bass playing and/or songwriting'...

This - http://www.youtube.com/watch?v=wJAEu_0BqCQ

What does he say into the microphone before smashing up the guitar? I can't quite work it out.

Pino and Steve, laying down a truly killin' groove! Kicks in at about 1:00 [media]http://www.youtube.com/watch?v=c3bSk9euVEk[/media]

[quote name='discreet' timestamp='1321706036' post='1442173'] Allparts necks are the dog's spuds though, and are second only to Fender. In fact they can be superior in some cases, in my humble opinion. [/quote] I totally agree, but by anyone's books £360 is more expensive than £150!

[quote name='SidVicious1978' timestamp='1321698101' post='1442010'] plus the allparts are cheaper [/quote] I have to disagree. At Allparts current price of £380 for a rosewood neck with pearl block inlays, it definitely is NOT cheaper! http://www.allparts.uk.com/online-shop/guitar-bass-parts/bodies-necks/necks/bass-necks/replacement-neck-for-j-bass-rosewood-board-w-finish-w-binding-block-inlays-p-1978.html

From a quick glance it looked ok to me, but there was something odd about it. Then it hit me, it doesn't have a pearl block inlay at fret one! Quite a glaring mistake once you notice it, as EVERY bass I've seen with block inlays has an inlay at fret one

Can I just add, that in the defence of any newbies, it does say this when you go to Edit Signature [b] Edit Signature[/b] Your signature may contain: • Any number images [u][b]• Images of any size[/b][/u] • Any number of URLs [u][b]• Any number of lines[/b][/u]

[quote name='stingrayPete1977' timestamp='1321630521' post='1441448'] Wow can you narrow that down a bit [/quote] Unfortunately not. It's massive and I'm proud

I'm sticking with this thread, so that when it descends into the 'people have too much useless information in their sigs - nobody gives a sh!t what kind of bass you have unless it's for sale!' argument, so I can join in!

[quote name='Leemarc Ferguson' timestamp='1321615578' post='1441168'] Just a question I thought I throw out there to see what my fellow bass players think [b]"Slapping or Fingering technique"[/b]? [/quote] Whichever it takes to keep her quiet

No doubt a conversation will be had between the cow and Farmer Fred about how it is musically and contextually relevant to discuss how the majority of his bovine brethren get their sustenance from grass

[quote name='clarkpegasus4001' timestamp='1321479720' post='1439799'] That has to be totally unique? i've never seen anything like it. [/quote] There's a reason for that... it sounds awful! The technique might be interesting to watch, but his playing is just some cliched slap riffs and a LOT of poorly executed muting... add into that the awful sound that pedal is adding to the mix and it's just a poor demo all 'round IMO.

Chord charts are a great idea. I play in an Irish band and for some reason, there is always a random extra bar at the end of reels etc, so chord charts will stop you getting caught out by those early on! It's great fun to play though and will offer a new challenge, so enjoy it

[quote name='stingrayPete1977' timestamp='1321543014' post='1440428'] Then Farmer Fred will end up really far away from his gate Skej, you haven't thought it through [/quote] Maybe Farmer Fred needs to get back to farming and forget about trying to be a bassist/music teacher

[quote name='stingrayPete1977' timestamp='1321542475' post='1440416'] It looks right to me? I have a book in front of me and its the same as farmer freds? Not sure Im with you. [/quote] It might look the same, but encouraging people to start drawing their clef on the 'A' space and then curling up to the 'F' is just wrong. It looks scruffy (just like FFs) and takes away the importance of the clef starting on the 'F' line. If drawn correctly, it should start with a dot on the 'F' line before moving left, up and over that dot and curling down towards the 'A' space. Like this: http://youtu.be/cLMGXiURltI

Is it wrong that this video annoys me because he draws his clef the wrong way. It's called an 'F' clef because the starting point from where you draw the clef is on the 'F' line AND because it looks like an 'F'... but more importantly because it starts on the 'F' line! Same goes for the treble clef starting on the 'G'. Grrrrrrrrrrrrrrrrr. P.s. I imagine Doddy would agree

I'm suprised that we're 7 pages in and nobody has put a Traben up yet. Bloody abominations IMO!

Normally I try to refrain from controversial posts, but I finally get the chance to show my hatred for these truly AWFUL instruments!

I've found that if you stick with the "one finger per fret" rule, it cuts down on how many times you need to shift and makes the shifts make more MUSICAL sense and also gives you back the control. If you play ascending with this method, you play this; C, D#, D, Eb (shift) E, F, F#, G (shift) G# (shift/slide up to), A, Bb, B, C Whilst you'll notice that it still encourages you to slide into a single note (G#-A), this is unavoidable with the chromatic scale, but has reduced both the number of shifts AND the number of times you will be required to sacrifice control in order to hit all the notes (by playing open notes or trying to play 5 semitones in a row on a single string by sliding into the final note). You'll also notice that the starting notes of each shift are major thirds (C to E and E to G#)... this will make it a lot easier for you to make musical sense of the chromatic scale and will mean that you are playing the shifts in intervals that you are commonly using Unlike the "play 5 semitones and open strings to make it easier" approach, playing the scale this way not only allows for the scale pattern to be transferred into any key, but also removes the safety blanket of relying on open strings to help you out (because they aren't always there to fall back on!) Just my opinion/approach, but hope it helps

[quote name='uncle psychosis' timestamp='1317983268' post='1396874'] You've not got that quote quite right. It should be: 'Give a man a fish, he eats for a day. Teach a man how to fish and he will sit in a boat and drink beer all day' [/quote] Don't you mean 'Give a man a fish, he eats for a day. Teach a man how to fish and he will sit in a boat, drinking beer and explaining to anyone who will listen that he is in fact a brilliant fisherman but on this rare occasion the fish just aren't biting! Normally he has at least 20 and they are all MASSIVE'

Gan canny mate! Welcome to Basschat If you're after a smart jazz bass, drop me a PM. Got a black '77 Squier VM Jazz for sale (for under £200) locally that is pretty much brand new, if you're interested

[quote name='andydye' timestamp='1317890750' post='1395739'] You learn the tools (note theory) and then over time those tools seep into your playing and become instinctive...? [/quote] It does become instinctive, but instinctive is not always a good thing. One of the biggest parts of instinct is drawing on the things you already know, i.e shapes or note theory that you've previously encountered. This can become a major hindrance when trying to push the boundaries of what we expect to hear, as you often fall into the trap of playing something predictable through instinct. Whilst this is good if you need to busk through a ii-v-i or a i-iv-v, as you have plenty of prior knowledge/experience to draw on for an 'instinctive' bass line, it often leads down the path of playing stylistically stereotypical bass lines. In order to step outside of this, IMO, you need a solid understanding of all elements of music theory, so you can carefully consider/plan how you will use those tools to actively go against the grain.