mcgraham

[quote]I was just curious as to why you would post an example how people could use a specific technique when said example is somewhat flawed..?[/quote] None of us have perfect technique - doesn't mean it is any less inspirational, motivational or helpful to post such an example. As someone who also uses this technique, a big part of getting this down in consistency between the fingers - both in terms of sound and timing. It's a complex technique and as such it's easy to slip up. I would agree that things weren't quite in the pocket at the beginning, but I do think that video is a damn fine illustration of how you can use this technique to add to your playing and give you some options. Thanks Mike!

I will definitely watch this when I get home. I love your videos, particularly those that highlight these sorts of thing - thanks for taking the time to make these.

[quote]Oh have you not heard? I was my understanding that everyone had heard?[/quote] Buh-buh-buh oo-mah-mao-mao, buh-oo-mao-mao... Excellent song.

Mine usually rests lightly against the body of the bass, sometimes the tip of my thumb abuts the corner of the pickup, sometimes it even hovers and the arm supports it. Depends on the bass. It's a bit weird at first, but I've never found it to be a problem. Floating thumb is particularly good for freedom of movement as you are not affixed/anchored at any point, which is what I wanted to achieve for some of the lines and players I like to imitate. EDIT: I should point out that I am in agreement with thisnameistaken in that this is not the only technique one should use - there are many successful players with other safe and efficient techniques. I'm just trying to explain why I find it works - and I do have the experience of having used the other techniques (and other more zany techniques) for many years for many gigs, and I find floating thumb to be the most effective for what I want.

It's an easy mistake to make! Floating thumb has no anchor, the thumb slides across the surface defined by the curvature of the strings. Movable anchor has clearly defined anchor points across that same surface, i.e. the strings themselves. Both are fine, but the former is more energy efficient all things being equal.

I love the idea that an ERB is a complete instrument, for both guitar and bass. You could play anything you want on it!

[quote]I wouldn't stress about learning the so-called "floating thumb" picking technique. Hardly anybody uses it because it's an over-engineered solution to a non-problem.[/quote] I wouldn't call it overengineering - if you consider the mechanics of the floating thumb, it's actually by far the simplest solution and is very effective. You don't need to learn to switch anchored strings with your thumb, or move your ring/pinky from string to string; you don't need to bend your wrist more to reach higher strings; you don't need to have a pickup to anchor on. You also won't get carpal tunnel by having a bent wrist, because you don't have one using floating thumb. I will freely acknowledge that if your technique is good enough for what you want to do, and there's no danger of injury, then there is no need to stress about it. Anchoring did me fine for years, but in the end I found it too limiting and too much work (as above). Movable anchor then did me fine but I still found it, in the end, limiting and too much work. I then, eventually, switched to floating thumb because I wanted to do things that the other techniques hindered rather than helped. Sure I could've worked harder to use the same technique, but why fight something that I don't have to when there's a simpler easier solution out there?

TBH, I don't know who I sound like. I certainly don't actively strive for any particular person's sound. If I had to name sounds I like, I'd say Marcus Miller fingerstyle with no fretbuzz/sizzle is one of my favourites. But I don't listen to many bassists (anymore). With regard to variation with gear, I just want to play. If I'm looking to buy an instrument I will scrutinise the tone til the cows come home - otherwise I will get a good tone and work the rest with my fingers and just enjoy playing.

I'm sorry to hear of your problem with your arm. As I am not a doctor, anything I say below comes with the caveat that I have no idea how it may affect your ailment. My first suggestion would be to, if possible, learn to use a movable anchor. So instead of anchoring on the lowest pickup, anchor it a string below whatever you string you happen to be playing. If you're playing the E, anchor on the pickup; if you're playing the A, anchor on the E, etc. Try and lower the heel of your hand towards the bass from whatever position your hand is in so that it contacts the lower strings (where relevant) and mutes them. This is sort of a half-way house between floating thumb and permanent anchoring, and shouldn't take too much work if physically possible. My second suggestion, would be to use your free fingers on your right hand to mute lower strings (John Patitucci and Janek Gwizdala do this, I believe). So keep playing as you do currently, but once you ascend to the D string, place your ring finger on the A string to prevent it ringing out. Once you ascend to the G string, place your pinky on the A and your ring on the D to prevent it ringing out. This would take a lot of practice though. Use of the left hand to mute notes is also critical, particularly if RH muting is limited as in your case.

I didn't get to try the double neck, but sure looked heavy! Thanks for the kind words Shep! Much appreciated The half-fretted/half-fretless was fun - probably not a regular gigging bass for me, but certainly a lot of fun!

First post-bash post! Twas good fun, got to meet a lot of great people, try some new basses, and put names to faces. Good laugh all around! My favourite item of the day was the Barefaced Midget - was very impressed by the volume/sound to size/weight ratio. What were others' favourite(s)?

[quote]I agree, stepped pedalboards are much more ergonomic (in terms of allowing error free stomping)....[/quote] Yup - sloped makes it easier to access pedals other than front row, but you still suffer from clobbering knobs of the pedals in the row further forward. I can't remember who makes them right now, but someone does these pedal lifter panels that are basically just brackets designed to lift pedals a predetermined height above the surface of the board to help access without needing to get a custom board. TBH, you only need about an inch extra height to ensure sufficient clearance on pedals, particularly on a sloped PT board - the two step height in that Paul Lenders link above is only to accommodate a power supply within the step. That's another thought... what do people think about hiding power supplies and other doo-dahs under pedalboards vs having everything visible and topmounted? Paul Lenders does the former (evidently for neatness cos they look sweeeeeeeeet), but people like Bob Bradshaw (Custom Audio Electronics) advocate everything being surface mounted on the board so that you can see/fix/troubleshoot anything without having to dismantle the entire board.

I can recommend the ZVex Mastotron fuzz, which is a silicon based fuzz near-identical to the Woolly Mammoth (but with added impedance knob for handling high or low impedance signals at the input). Lots of spit and snarl on top but can be dialled out if you want something warmer. Can get really glitchy gated robotic-esque sounds with the waveform knob too (if that's your bag!). 3-position subswitch also allows for the low-end to be passed through unaffected to varying degrees to help keep the low end. Can be had for a bargain new and even-more-so second hand. Very cool for guitar as well

On the topic of bespoke and stepped pedalboards, I came across this Netherlands based company the other day: [url="http://www.paullenders.com/"]Paul Lenders Custom Pedalboards[/url] [url="http://www.paullenders.com/hugo-vis/"]This is my favourite looking pedalboard on there[/url]. I'm going to try and mimic the style cos I like it so much They also make their own effects which look amazing... though no idea how they sound!

Great article. Very true statements throughout. Particularly about spending enough time with an instrument to form a relationship with it. Although, TBH, I only play my main bass (fretless), and occasionally the fretted as a backup. Beyond that I'd struggle to fit in any time on any other bass - 5 basses would be way too many for me.

[quote]I'm speculating, but I really think a lot of them have a bit of a emotional disconnect (couldn't think of a better word, sorry!) when it comes to composing[/quote] A valid criticism of many technical musos. I'm not saying this is the case for Janek, just pointing out that all the technique in the world is for nought if you can't move people with your playing. The biggest thing to learn with music (IMO) is how to utilise it to affect people's emotions and actual state of being - and I see a lot of musicians just miss out on that and don't 'get' that this is the core of what makes music so universal. [quote]Maybe,he isn't fully formed as a composer just yet,but he's definitely on the way.[/quote] Plus the one! Definitely on the way.

I like Janek's music, and will buy this next one (when I remember!), so share Faithless's love for his music. However, I can also relate to silddx's point. I found Live at the 55 Bar to be a more energetic album than Mystery to me, but I found it to be a little sparse on originality and catchy melodies. I'm not saying it was devoid of originality or melody, but given the length of the album and the quality of the musicians, there was relatively little music that made me "sit-up and pay attention". I did love the production on it though. In contrast, Mystery to me had a great deal of interesting music and I listened intently the whole way through... but only from a musical perspective, as I found that it lacked vibrance or energy from the band/musicians/recording as a whole. Also, I wouldn't say there were any musically intense songs - they all felt very moody and melancholic, and therefore very samey, to me. In fact, I'd even go so far as to say he gained energy and production quality on the Live album at the expense of originality and artistry. In short, I think Janek is a great musician with a lot to offer, but as yet hasn't quite won me over with his offerings so far. EDIT: Oh I should add I went to see him in Epsom a few years back with a kick-ass band doing 'covers' of various jazz standards, and their live energy and musical prowess (both technically, rhythmically, melodically and harmonically) was astounding. Great night.

I'll be there with my W&Ts in tow! Me and pantherairsoft will be getting there just gone 12 to enjoy a pub lunch beforehand if anyone wants join us!

Webby, my unit is a custom job - it is in fact a combination of his H1 and the m:D2 preamp/DI he makes, plus a few extra in/outs. It was very reasonably priced. Let me know if you want any more info. Mark

I have something similar to that - made by Max at SFX sound. Thread on here about it [url="http://basschat.co.uk/index.php?showtopic=58228&hl=sfx%20monitor&st=20"]Click here![/url] It\s great and forms an integral part of my rig.