Bilbo

General rule is left hand if I want to dampen higher strings, right hand if its lower.

10 years? Herbie FLowers will win tho'. He's a 30 year man.....

I did some gigs with a woman called Corina Sylvester who had done some work with NYJO - she was probably 6 stone soaking wet. A fully rounded musician I would call for a gig again anyday (were I not 100 miles away ). The chromosone make up of a drummer should be of no concern. Drumming is not about strength and a person's physical strength has actually no bearing whatsoever on their ability to play this oldest of instruments. But, back to the op, yes, a gig with great drummer is the best feeling.

Many have versions of tunes with the bass in and with it taken out so you can hear what to do before attempting it. The biggest issue will be what music you like. A jazz play along will do nothing for you if you prefer rock or funk and vice versa. Find one that spearks your interest and dive in...

JBs problem is that he forces people to deal with the fact that doing this music thing properly is hard, there is no quick way of getting there, only proper study. WHether you agree about metronomes or no is a minor point. His critiques of music schools who take you r money and offer little in return are legit but threaten a lot of people who are making a lot of money. He is going to raise the hackles of some. Personally, I like his candour.

That 'unknown' percussionist was Trilok Gurtu from the US band Oregon. He is a genius. I recommend their cd Ecotopia. PS My bass teacher was a PR man and he knew I was a JB fan so got me a ticket for the Royal Festival Hall in the front row right in front of Berlin. I spent the whole gig watching Trilok. A stunning musician.

Soweto Sorrow from Aldo Romano's Suite Africane (Henri Texier on bass). Transcription on its way.

Its one of life's difficulties, ime. Anyone who tries to have an intelligent, adult conversation, particularly on the internet, is often (always?) undermined by those who don't take the issue as seriously or who cannot take criticism without their ego feeling threatened. Its worse on the internet because the number of people engaging in any debate is potentially massive but it is just as difficult in the real world. I have always found it refreshing to work with a musician who will listen to your observations and try adjustments to make the music better. The better a player is, usually the more open they are to suggestion. Its the mediocre/weak players who are trying to justify their inadequacies that tend to be more easily threatened and resort to name-calling and flippancy. But its not just music, its pretty much any subject.

[quote name='Earbrass' post='1114091' date='Feb 3 2011, 04:26 PM']Could this be an equal temperament issue? The harmonic will be a "pure" maj 3rd, while the keyboard will be tuned to equal temperament. Could this account for the discrepancy?[/quote] I think that's what I meant!

Thanks, EB. I should point out that the example was purely a metaphor for illustrative purposes and, in reality, I really coudn't give a rat's

What are you measuring it with? If everything else is spot on, this is technically impossible But then again, so is flight in bumble bees! Actually, major thirds on fretted instruments are generally off (that is why a major third on a distorted guitar sounds so ugly). Are you fretting the note and then playing the harmonic as a comparison? If so, it will always sound marginally different.

All this does prove something, doesn't it? I am not altogehter sure what but something. I would surmise that this confirms that, when all is said and done, the music is bigger than the gear we play it on. We all obsess about the nuts and bolts of the gear; which wood, which era at Fender, hand made or machine, passive or active etc. But, when you throw in the individual player, personal taste and preferences, personal skills and talent, strings, pick ups, effects pedals, amps, speakers, cables, different mics and DI boxes, a studio engineer, a desk, various monitor speakers, the cutting or copying processes, the hi fi we play stuff on, the venue we see bands at, the live mixing engineer, the size of the audience and on and on and on we are left with the fact that the bass that is played is about 1% of the overall effect achieved. One of the things that YouTube has taught me is that the ability to buy a Fodera/Alembic/any other top brand does not turn a crap palyer into a good one. It also means that a good player who can only afford a cheap bass is still a contender. My kid brother owns a Harley shop in Chepstow and tells me that the motorcycle world is very similar. Most of the people who can afford an 'off the peg' Harley are middle aged 'mid-life crisis' cases who are attracted to the glamour of the brand. Is it the same for top end basses?

Percy Jones is so strong a personality on the instrument. He is recognisable in seconds, unlike most of the shred merchants. A true original.

It wouldn't work at the level I am playing at as you NEVER have a rig of sufficient quality to make a nice noise. I envy those who work within an infrastructure that allows this to be viable.

PS I am actually Rolf Harris.

How can someone in the US suggest someone from Sweden is charged with treason? It can only be treason if you are a citizen of the state you offended against, Shirley?

[quote name='mrdreadful' post='1112524' date='Feb 2 2011, 03:16 PM']For some reason I find bass playing more fun than guitar playing....[/quote] That's cos it is Welcome back.

Ronnie Cox... (Robocop)

Ronnie Cox... (Robocop)

I find Alembics are marmite basses. I love some of them and think others are completely hideous! I will never have the money to buy one so its academci but some I would die for whilst others would not even register a look.

Jazz Bass Hard Case - I though it was a thread about Charles Mingus....

Listen with your ears and not your eyes. There is a lot less happening here than you think.

[quote name='neepheid' post='1110989' date='Feb 1 2011, 01:53 PM']Artistic "integrity" is just another word for snobbery in my book and an excuse to for people to look down their noses at someone who is doing something that they can't or wouldn't. That doesn't make it wrong![/quote] Artistic integrity is not snobbery. It is about being true to yourself. If you are an artist and not a craftsman, you have choices to make about what you do with your talent. If you commit to something such as only playing your own material, maintaining that commitment at all costs takes integrity. Doing everything and anything for money requires very little. However, if your 'commitment' in that case is to provide food for your children, then taking every gig at all costs has as much integrity as only playing folk music. Its a question of perspective. Personally, I won't play bad music any more. Did it for years and realised I don't need to and it was harming me so I stopped. Now less gigs but better quality music. Suits me but I pay the bills in other ways.

He also slowed the tapes down and recorded things at half speed so you can't trust his chops!!

[quote name='Vinny' post='1108149' date='Jan 30 2011, 02:09 PM']the bestest bass riff ever! (not the lead part).[/quote] I thought that was 'Good Times' by Chic