mcnach

Same with my Model T Session...

Just the occasional badger over here...

I once bought a cheap guitar just because I had a little extra cash in my pocket and it looked pretty. I fully intended it to be decoration on the wall. It was a Les Paul style guitar, dark burgundy mahogany body, translucent, nothing fancy... P90 pickups and black plate. It was made by an unknown to me at the time brand. SX. It arrived, and apart from needing attention to the nut and a couple of frets, it was pretty damn good. Set neck, which I did not expect, and reasonably well made with a handful of very minor cosmetic details, understandable at the price. It became my #1 guitar. I was at a guitar bash style thing once with it, in 2003 or 2004, and there was a guy with a Gibson Les paul Jr with a couple of P90 pickups... and most preferred my guitar in feel and sound. Sometimes (not often, I admit), you get lucky. SX make budget instruments but they do make functional instruments. Other companies, not so much. Anyway, some people like to collect instruments because they look nice. Why not?

ah, so you only question whether she 'toured' with them, not that she was invited to meet them and hang around etc? Then I agree with you. I don't think she actually played in front of their audience, I don't think that was the deal.

I have the feeling if she were your regular average dude playing his bass on youtube, nobody here would be claiming he's miming and that his bass was not even plugged in... Are we jealous that we're not as pretty as her, or as good players as she seems to be? The beauty, we probably can't do much about... the other stuff, well, if you look around you probably find a wooden thing with a long stick with strings. Yes... that's a bass,, remember? Maybe spend some more regular quality time with it, and you will also get better.

a very elaborate urban myth with pictures of her at a stage during allegedly a soundcheck for Jamiroquai, being very careful to make it look like a proper big donkey stage as they would have in a concert of that kind, with all the right equipment in view... and she could have been also photoshopped with the band... true, it could all be an urban myth, or we could just have an overpopulation of bitter grumpy old man in this forum edit: the prophanity filter cracks me up... "proper big donkey" :-D

Really?

That's a good point...

And only a couple of years ago you could buy a Stingray 4-string for almost £1000 less...

I am not sure if she ever did play 'a gig', I thought it was more like she was invited to meet them and played with them at a sound check or something. Maybe she did join in for a song or something? No idea. I remember seeing pictures of her with the band, and on stage during some tour in... South America somewhere? But I don't really remember many details.

That's pretty poor... and the Luminlay dots... ugh! That's not how it's done :(

Yousician looks pretty cool, but it's not what I wanted... "Bass Guitar Note Trainer" has a mode (Note Practicum) that is *almost* what I wanted. It'll ask for a note and it chooses a string where you have to play that note on your bass. Well, that and many other 'games'... The microphone is a bit sensitive it seems and room noises makes the game thing you played a note (incorrectly, most times)... but maybe there's a way to calibrate it or just find a better place to set my phone...

A tuner doesn't shout "Bb" and then "oops, wrong" when you play an A... Unless you mean my old friend Bill, who was a piano tuner. But he's pretty busy these days

ugh... I hate that... You have the earplugs all through a gig/rehearsal... and when everything is safe a cymbal drops right by my ear. I hope your tinnitus will go away soon.

I haven't tried the Pro 10s, I have the 17s and I can hear the hi hats, that's for sure. After going to the trouble of getting custom moulds etc, I found I actually prefer the Isolate plugs... they're just a bit of some soft pliable black foam and a metal core. No hi-tech by any means... and I dismissed them for a long time because they just could not possibly work and the response graphs I had seen were not promising (and tellingly they 'disappeared' from their site very quickly to be substituted by some bs marketing blurb). One of my guitarists loved them, and I decided to give them a try, if anything they'll be handy when I have to share room with another guitarist in out of town gigs (snores like a tractor) To my surprise... I prefer the low tech isolates. They reduce sound quite a bit more than the Pro 17s, but for some reason I find them very clear even in the worst muddiest stages, I can hear everything but I feel as though there may be a bit of a bump in the low mids that suit my bass a lot, which means that it's as if I get a stage mix with "a little more of me" without needing to turn up higher onstage. They're only about £25 and very comfy... so I thought they could be a backup or just to help me against snoring bandmates while travelling... but now the ACS Pro17s are my back up.

Oh, so this is always in the context of a given song? That's why I could not find it. I expected to find it as a training exercise or something. I'll check it out when I get home, thanks!

Indeed. Many years ago I went for an audition with a local band... I had heard nothing, they said just come along and you'll pick it up fast... I showed up, they put a stand in front of me with lyrics and chords roughly written above, and said "let's go, 1,2, 3..." At that stage, I was not aware of knowing where the notes were. If I wanted a B, I'd need time to count slowly the notes from an open string up. Until that moment, I had been happy playing guitar by myself at home, recording basic stuff with a drum machine, and I had a bass to go dum dum dum along, that's pretty much it (ok, a bit more than that, but not much more). Rabbit in the headlights moment... fortunately, the 1,2,3,4 was delayed a bit as they talked about something... I scanned the sheet for chords, found there were just 5 chords in the whole thing, identified the root notes... and away we went. The second song went a bit better. After 40 minutes of that I felt pretty confident (even if limited to a few notes per chord) and I was able to start 'exploring' a bit further as the bases were covered and I could now be a bit more creative. It was pretty interesting that I already had realised that there were a bunch of 'patterns' that worked well in certain contexts, I just had never stopped to think that I was just playing notes in the relevant scale... now I did and felt pretty silly for having ignored all that as "too difficult, I just want to have a little fun and don't have teh time to invest on the kind of time that this would require". The audition ended, and I went home thinking "notes, huh... I must get those in my brain, they seem pretty useful when playing with others", and that's what made me want to learn a bit. I used to be in awe of people who could just show up and play... then I knew "ah, so they're not mind readers! They learnt the language of music! Maybe I can learn a little too" :D (of course, on top of that you get each individual's creativity, and that's when you get really interesting players, but that's another chapter). Having a practical appl;ication for the things you learn helps you stay motivated.

You are right: knowing what to do with them rather than just knowing where they are is an important part of making it fun. In the case of my girlfriend, I was using some slow/midtempo basic ska and reggae rhythms to show her how if you know you have an Am chord coming, and you know where A is, there is a simple 'pattern' that gives you the basic 1-3-5 scale notes that will form the chord, and if it's minor you get another easy pattern, and both patterns share the 1 and 5. When I was showing her that it was a bit of a revelation to her, and seemed to make her realise that learning *some* form of theory, even as superbasic as that, can come handy... and of course, as you progress and learn more complicated things they will also have useful applications straight away. That was what prompted me to look for an app to learn where the notes are. My initial plan was to just start with maybe 4 notes... and I can play a rhythm on my guitar and just shout what chord will come next and for her to just play root notes... and little by little expand adding more (a bit like how Ed Friedland starts on his BUilding Walking Bass Lines - a fantastic book)... but what she can do by herself effectively is play a game that helps her remember/visualise the notes on her bass. I guess both parts can be combined, but she can work on the note recognition by herself easily and she said a 'game' like that would help her not get bored.

That looks interesting too, unfortunately iOS only, so that's out for us... (windows/linux & android here)

Interesting. I read about it and thought it would do what I wanted... but I downloaded the app and didn't see how to. It seemed geared towards pre-determined lessons. I gave up on it. I'll try again and see if I find how to do that.

Those are actually pretty useful exercises! Now if I could find an app to use as a 'soundboard' while doing that, I can see her learning this stuff pretty quickly (simply because she would keep at it, rather than seeing the exercises as a chore and giving up after a week)

That's one approach. It's just not the approach I was asking for I would like to make it as 'fun' as possible for her so that she sticks with it. Your approach worked for me. Actually I didn't even do that, I just hammered the notes down in my head until I could 'see' them... But I know she'd probably just not persevere with that approach and I know the 'interactive game' approach will have a much more chance of success.

Mine are not wearing, neither the Labella whites or various other black types I've used over the years. I guess they will one day but they likely last a LONG time. I find them different to halfwounds. They feel different to the touch... very very soft... The labella whites, which are my favourites, are roundwounds with a nylon cover... so yes, they do mellow the roundwound sound, but it's not simply "the sound of a used roundwound". The copper Labella white nylons in particular have very nice prominent low mids, all the growl I want, fat but with great definition... they can sound bright if I want them to, but tame if not... Some sound a little too thumpy with too big lows (I find many flats like that), but these are not that way, they just seem very balanced across the spectrum. They don't get as bright as roundwounds if you're after a Marcus Miller kind of sound... but they will do pretty much anything else. I find the passive tone control is really responsive when using these strings.

The strings are so flexible that you won't find them harder to play with a higher action, I don't think, so that's a good possibility too.

I needed to turn the truss rod nut a bit after fitting mine (on two different basses). They vibrate a bit more wildly than other less compliant strings and that can make a rattle sound unless you're very gentle. Once adjusted they're fine unless you have the lowest of the lowest of the actions.