Mark_Bass

Ive been playing 5-strings for a while and ive been asked to del for an iron maiden tribute band, i don't own a precsion so im now looking into buying one. I could buy a 4-string for the gig but i generally only use 5-strings in my other bands so im thinking of a 5er. I had thought that if the maiden gig becomes regular i'll buy the steve harris signature or buy a 5-string fender and convert that into a 5-string harris tribute bass....decisions decisions. I was fairly surprised at the price of American standards to be fair

Steve brought a bass off of me, he was very flexible and communicative. Paid quickly, top bloke! - Thanks!

Hi everyone, After 7 or 8 years of having free rehearsal space at our local Pub the place has now changed hands and now we're homeless, so we're looking for some rehearsal studios. So im looking for some recommendations or pointers in where else too look. Basically we'd prefer weekday evenings local to us (So in the Camberley (surrey) -Farnborough (hampshire) area) With slots from 7-11 preferable. And ideally we'd like to hire cabs and basic kit (drummer would bring breakables) The two rehearal spaces we've used in the past are: The Rooms - Farnborough No Machine Studios - Wokingham Does anyone know of any other ones around surrounding area? Cheers!

I think i can do that

When i transitioned form a 4 to a 5 the only thing that took a bit of time was skipping a string when playing riffs on the E string to D, i raise my strap up aout an inch (it was way to low to be fair) and that helped. It wasn't untill i picked-up my fender 4string at a rehearsal did i realise how much i use the B string.

I think that less is more with bass EQ, i tend to keep mine flat (Ibanez SR705 & Warwick FNA) but if i have to boost any frqs i would normally only boost the mids myself unless my strings need a change then ill try and add more treble to compensate For me, having a onboard EQ is great when I'm practicing at home as i can dial in whatever sound i want to hear at that time without having to get up and move to the amp, but whenever i gig i normally keep it flat and rely more on my amp otherwise i find that its easy to chase your own tail.

Nice track Awesome name - I wonder if a new band could get away with a name like that these days?

[quote name='The Dark Lord' timestamp='1365080027' post='2034955'] Not dissing the poster in any way. Just a bit of an eye-opener to me to see all that theory. [/quote] Don't worry no offence was taken Theres a tonne of folk who are happy to plod along and play the root and not be overly concerned with whats underpinning what they're learning. Nothing wrong with that, i think that for the most part bassists in general can get away with not understanding the relationship between chord tones and basslines etc if they're not writing songs or doing solos and i think thats the key issue; most guitards will, at someone point or another attempt to play a guitar solo or two and thats possibly at that point they stop and have to pick-up a book or consult a tutor. Where as for the most part the average bass player who has no aspiration to be the next Victor or Jaco and isn't really into Jazz or other genres like that, can probably get away with a lesser knowledge or understanding of musical theory without it being so obvious. For me it was when my guitarist called me out during a recording session to say that half way through my fill i changed modes...or something like that lol No harm done and to be fair untill we were in the studio no one noticed lol I think its fair to say that a bit of knowledge can only be a good thing, i guess at the end of the day its how you apply the theory.

Thanks guys theres some good insight there, im gonna have to sit down and digest all this and try and borrow a piano or keyboard - great idea btw. Im starting to see where my confusion between chord tones and scales is coming from, especially as lot of the songs i'm being asked to learn are more riff-based than chord based - that being said im certainly going to take the time this lunchtime to read the links you've posted.

Back when i was starting out my school had a couple of carlboro amps, no idea if they were for bass or for keyboards but the were bloody horrible. I played a ashdown rig at some festival in IOW a few years back and the amp sounded terrible, i couldn't seem to get it sound even half decent...(though that could user in experience of the amp rather than the amp itself) The worse luck i had was i brought a Warwick Xtreme tubepath 10.1 which went 'pop' 20minutes into my first rehearsal with it, kinda a shame really becuase the tone i received from it was lovely...luckily i was able to return it to the store and got my money back!

[quote name='dood' timestamp='1364941652' post='2033217'] I've tried to explain as simply as possible! I hope it makes sense! [/quote] I totally does, thanks! Now that im thinking of investing in a good compression pedal ill have to look the brands you've just mentioned, thanks :-)

Sold Tony two boss pedals, very quick payment and an absolute delight to do "business" with!

Ok ill hold my hands-up and admit it, im not that good a bass player. Sure i can play in time and try not to step on the toes of the guitards when they're doing their "look at me, look at me" solos a my problem is that i know only couple of scales (basically the basic pentatonics) and thats about it, any fills and licks i employ seem to be more from muscle memory than from recognising the scales the song is based around. Ironically that even though i seem to learn songs quickly either form ear or by being shown i really cant seem to retain music theory! And i have to admit its kinda frustrating; i play with some very skilled guitarists; the kinda guys who know every mode from scales and spent their youth practising sweep arpeggios in their room whilst i was out meeting girls ;-) and whilst i seem to be able to "wing" it i feel like im cheating myself by not fully understanding more of the theory and building blocks of bass line construction etc. So any advice or suggestions that people could offer in ways to employ new scales and theory to my playing would be greatly received.

Genz Benz Shuttle 9.2 or possibly a Agi Tone Hammer 500 would be my uneducated-educated opinion

Geez she's a beaut! That top cut away extends really far up the neck, does that get in the way at all when reaching up to the dusty end of the fret board?

What the hell is Parallel compression?! I have t say the MXR looks like a winner ive read the ovnilab review and it sounds like it's the best for its price range, what would be the next step-up in pedal compression?

That BK7 sounds pretty darn gnarly on the samples, it may be the one to replace my BassBlow Torch