Bilbo

Singing lines and playing them (not playing lines and singing them) is by far the most effective means. Links your ideas to your fingers. Remember to learn the intervals backwards as well (fifth to root not just root to fifth).

Hardcore

Speaking as someone who is close to that pinnacle myself.... Seriously, the concept of there being a line of improved development from Monk Montgomery through Jaco to these gunslingers is anathema to the concept of Music as Art. Atheletes get faster, higher, further etc, not artists. Having looked for great players all my life, I have learned that there is always some other cat just around the corner. Great bassists canplay crap music, crap musicians can play great music. Technique is not just about faster but also about expression. It is all very complicated. Interestingly, guitarists seem to have stopped trying to speed up as the shredding has proven to be a dead end. Same with horns really. Its about the ideas now, not the process.

[quote name='stingrayPete1977' timestamp='1375911329' post='2167452'] That's the thing with db, everyone will watch![/quote] Get a hat. You'll be fine.

[quote name='operative451' timestamp='1377872953' post='2193092'] I guess being a grunge kid (and seeing as i may have sort of triggered this a bit) - anything with more than 4 strings, unless you're playing metal - anything that's ostentatiously flashy wood, PRS or anything too 'session muso' or jazz. Acoustic basses unless its 1994 and you're on MTV unplugged. Violin basses. Any bass worn above the belt buckle. Especially 5 string bookmatched and used for slap jazz funk fusion! [/quote] More prejudices than a coachload of UKIP members on a European tour

Yeah, what's this 'in tune' malarky?

I always say that playing with a great feel is about learning about when notes END as opposed to when they start. Then again, I am about as funky as a cup of tea and sponge finger

Tony Reeves (Greenslade) Dudley Phillips (Perfect Houseplants) Mike Mondesir (Billy Cobham)

It is the interaction that is impossible to replicate without the ability to play piano/sax/trumpet etc. MIDI just doesn't begin to cut it. A solo bass piece is always an option but the images have never suggested that to me.

[quote name='Skol303' timestamp='1377726383' post='2191155'] PS: IMHO, you need to get some of your upright playing incorporated into the monthly composition stuff! Love it. [/quote] It is always in the back of my mind but the problem is the 'composition' competition is as much about delivering a performance as it is a composition and, whilst I can play basic guitar and programme vsts etc, I can't replicate anything credible in the area of jazz so, most of the time, the double bass doesn't fit with the ideas I am working with. But, yes, it would be nice.

Yes it was a one off. We do this thing in Felixstowe (got some great stuff coming up) but it never travels, I am afraid. Thanks for the feedback though, Rob.

Interestingly, only 79 have read this thread but 224 have listened to the track

Percy Jones & John Giblin

When I started on bass, the Squier brand didn't exist, never mind this model

I did take the electric to all double bass gigs at first but that was because I was worried about my atamina. I only take the double bass now. Piano players only take one (electric) piano, gutiarists one guitar, trumpeters one trumpet, vocalists one PA and so on. Why do bass players feel that have to prepare for alien invasion and the likelihood of a tsunamis when no-one else does? I have to say, the likelihood of my being taken ill is higher that the likelihood of my bass exploding. It's life.

I have been using my AI Clarus/Ten 2 EX combo for about a year or so now and love it. I did a recent gig where, by chance, another musician was sat on the floor between my bass and the amp (whilst I was playing). He said 'Wow; your amp sounds [i]exactly[/i] like your bass'. I got rid of my Eden Metro and use the AI for electric and double bass gigs. It is easily loud enough for everything I do that doesn't require a full rig and the eq is versatile enough to cope with all my needs. I did struggle witht he knobs and whistles a little at first but it isn't [i]that[/i] complicated, just takes a little bit of thought. The Fishman Plat Pro helps but obviously that only applies to the double bass. Great piece of kit that I see no reason to change any time soon.

Straight answer is 'yes'. It is popular music that tries to appear separate, different, aloof etc but, when you break it down, it functions in exactly the same was as the rest of pop but to a different demographic in a slightly different way. It is almost all affectation.

Doesn't bother me, to be frank.

It does happen. We had a pub change hands on us recently but they contacted the bands booked and honoured the bookings so it was cool but I can see how it could get forgotten in the 'excitement'.

Collins was a great drummer in his day. Not the best but highly competent. His stuff with Brand X and a number of other fusion outfits was great. He has his limitations but don't we all? I think a lot of folk mix up his slightly sugar sweet pop stuff with his overall contribution. As a prog drummer, he was one of the best.

PS it is two minutes shorter than 'Close To The Edge'

One of those live Zoom H1 recordings. When the count came, no-one knew what was going to happen: I don't think three of us had ever played the tune before. What came out was a funky/rocky/jazzy thing that builds and builds and builds. A great buzz to play but, when I heard it back, it was great to hear the creativity from all quarters. It's not as obvious as it should be but this IS a double bass not an electric. It sounds HUGE! [url="https://soundcloud.com/robert-palmer-1/beauty-and-the-beast"]https://soundcloud.c...y-and-the-beast[/url]

I couldn't justify the time investment required. Can't wait for the September piccy.