AntLockyer

Looks like the paint is not sanded away in some places.

[quote name='RandomBass' timestamp='1382368677' post='2251305'] My most expensive bass is my BB1024, which I got for a great price at GAK. [/quote] So you can get a 2024 in the same colour and she'll never know.

[quote name='EBS_freak' timestamp='1382368896' post='2251311'] [url="http://www.acscustom.com/uk/index.php?option=com_content&view=article&id=39&Itemid=90"]http://www.acscustom...id=39&Itemid=90[/url] Here you go Nige. Must warn you... You may be about to embark on a costly path! [/quote] Wow not far off what a pair of ear buds cost

I got some memory foam types with my ear buds. Not tried them yet but will now you posted this.

[quote name='uncle psychosis' timestamp='1382354446' post='2250960'] I never fail to be completely baffled by what some people think theory "is". Knowing theory isn't about looking at the chord charts, stopping, and thinking "right, thats a Dm7 chord, so my magic theory book says I can only play these notes...". [/quote] Right but getting to a jam and the leader saying to you It's C7, E7, D7 watch me for the changes. Knowing some theory certainly helps there once the song starts. That is one of the things that has really driven me along. I jam every week, 12 bar blues in whatever key I know the changes, and I know the pattern on the fretboard where the changes go. I've also got a bunch of stock lines that work (crosscut saw, dyna flow etc.). However beyond that is a whole world of expression. playing a slow blues for example, there are a shed load of notes to choose from, it's great to be able to focus on the chord tines, really support the music that way then use chromatic notes to move from one chord to the next. Some guys just do that naturally through years of experience, being able to substitute at least some of the experience with book learning fits in with my time and lifestyle.

That Anthony Jackson stuff I don't enjoy. Is this Jazz? http://www.youtube.com/watch?v=8ODmJAgBLSY I love that album so much. This and Black is are two really great songs.

Clothes? Now we are talking I get T-Shirts from whatever bike or car show my friends put on, from their bands or their places of work. I'm still wearing the sh*t I got given 15 years ago.

Very tricky. Something versatile probably. Maybe a BB2024x but then again I'd like a fender CS

Tubby Hayes - Down on the Village. The moment I heard it anything I thought about jazz went out of the window and I was hooked. However I'm only hooked onto that hard swinging and easy to understand melodic stuff. I do like other forms of jazz but can understand why people don;t want to listen to difficult music.

Nice, my wife liked it too.

Thanks for the thread.

[quote name='Dingus' timestamp='1382284215' post='2250068'] She is living the dream [/quote] brilliant.

[quote name='discreet' timestamp='1382284559' post='2250073'] The idea that you can only write decent music if you're an advanced music theorist is rubbish. [size=4]If you have something in your mind that you can put across effectively, any method of doing so is valid. [/size][size=4]In my humble opinion. [/size] [/quote] 100% agree. There are however things that you'd have no hope in hell of making good without theory though. Understanding the language of music can be done in many ways. Note names, shapes on the fret board, messing about and discarding the notes that don't sound right etc. When I first started playing on an electric guitar I noticed that if I played a note then moved my fingers up 2 frets and played the next 2 strings down on the fret board it sounded cool. I 'wrote' loads of songs that just did that. Never knew the names of any of the notes and it didn't matter at all I was playing root, 5th and octave.

The whole noodle versus know thing is interesting. If you had supreme amounts of knowledge you might not need to noodle, you might know that if you play primarily chord tones and add the 9th in every 2 bars it sounds great (or whatever as I dont have supreme knowledge).

I enjoyed it. Far more restrained than a lot of the stuff I see people uploading.

I had the chance to learn it all as a kid and had no interest whatsoever. Now I've made a Conscious decision to make up for lost time and become as good as I can.

I have to say, thanks so much for the advice and laughs. The situation here is a blues jam that I do go to every week. In a real band situation it would never happen to me (at least for blues). I am a musical person, I can take anything and make music with it (once I played a reverb on a DJ mixer for over 20 minutes and had people captivated). So I took that approach and just played stuff over the changes and any notes I didn't like I didn't repeat. This worked great over the backing track, take it away and the whole thing collapses. An interesting experiment and I have to say I totally agree with those of you that say no bass solos. Like I said I get put in the situation and want to make as best a musical expression as I can. It is on;y ever one guy who calls me out so I'll ask him to keep the changes going with some rhythm guitar next time and ensure the drummer keeps up.

Just done an hour of playing over a backing track in A and came up with a few ideas that worked. Once I get back from swimming will try the same thing with just a drum track and see how that feels.

That is a great solo, I think I have trouble with the building up slow bit because I get 24 bars or maybe because I do build up slow and have no where else to go in my vocab and run out of ideas. Rabbit in the headlights situation starts at about 2:45 [media]http://www.youtube.com/watch?v=d-82T7cEDGo[/media]

Occasionally (like once a month) I get pointed at in the middle of a song and everyone else stops playing. Anyone got some approaches to take here? It is generally 12 bar blues but occasionally might be a funk jam (cissy strut or something), I know the major scale with a flat 7, I know the chord tones of the dominant 7 in all the keys. I'm getting better and knowing the notes all over the neck rather than patterns. So what is next? Just play things that come in my head? I know my guitarist friends learn licks and incorporate them when they see fit. I have been watching some gospel stuff and again they have runs that are practiced. Any help would be appreciated. I'm practicing a couple of hours a day and don't just want to noodle

[quote name='maldy' timestamp='1382106440' post='2248089'] I think he wanted to be able to play the bass lines to songs really well. He could do loads of scales etc, but not many songs. That's my interpretation. I think his point is knowing what you want to achieve and practice specifically for it. Which is kind if obvious, but it suppose many of us don't. [/quote] I see. Yes I agree goals are important. I've not real idea what I want to achieve but I know chords and scales will be part of me getting to where it is when I know where it is.

[quote][font="Arial, Helvetica, sans-serif"][size="3"]I wince when I think back on how many hours I spent back in the day playing scales and arpeggios that were of no practical use to me either then or now and had absolutely no connection in any way, shape or form with what I wanted to achieve.[/size][/font][/quote] What does he want to achieve?

I was looking at in on Ebay yesterday as part of my Yamaha Bass search