foal30

I guess a Flanger falls into the time delay type of effect, ala Chorus, Re-Verb, Phaser. as in splitting the signal and "holding" one back. Loosely speaking. er, I quite like to use a Flanger when I'm a fair pumping those 8th notes. If it's on a recording I may use this in one section to accentuate the part, seldom as all on all the time if you get my drift. I use a Boss BF-2B, sturdy, no frills, reliable. Wah is always fun, takes some time to get the sweeps in line but for funky tonics it really is worth investigating.I'll generally through a few wah licks in live for solo sections as it always catches the ear. As opposed to my playing, sigh. I got a Morley Wah years ago and it's the goods, no pot to wear out, sturdy as a sturdy thing, no slip,dial in q control allows variation in tone, you can certainly develop wah buttock with this. using them simultaneously I have not done much of. Pretty much only in instrumental funk music, as in spaced out near inertia.

I got a Morley PSII several years ago and it's done the trick nicely. No huge volume gain when it's on and minimal to no noise when it's not.

1972 Jansen 50 Bassman with the flatwound strung P Bass through some 15" speakers I feel like a new player. re-invigorated no less.

Pick with Phaser try Anthony Jackson O'Jays "for the love of money" and "give the people what they want". also some stuff of him with Al di Meola I like the envelope filter/wah on Rose Royce "Car Wash". It's probably best to check out a lot of Bootsy Collins too. especially if a rocky funk vibe is your go. Warner Brothers have a best of that is worth getting for a cross-section of his post JB stuff.

the snares response time is different. also the lack of air being shifted is an ambiance thing to get used to. for recording make sure the unit has the right line outs. I guess this is an isolation issue. I like shifting them for gigs mind.

Posture. Weight of Instrument. maybe try the slider-strap, this is a harness that goes over both shoulders. lift your music stand higher, takes the bending neck position away. the bottom two ideas have helped me considerably, although the surgeons diagnosis was not what I wanted.

Kind of Blue is the obvious one, Paul Chambers is one special Bass player but the album itself should be in all record collections. It is a very important recording. Ron Carter is a mother, if pushed for one album with him on Bass maybe try Neferti The Man with the Horn for Marcus Miller era. Michael Henderson's time with Miles is a bit harder to pin down. maybe a Tribute to Jack Johnson...there is a vamp on that record that stretches them mind considerably (well mine anyway) the Chambers era is now incorporated into one set from the Prestige(?) label. this is pretty much the Cookin, Walkin etc albums and includes Blues by Five which has a spanking solo.

someone got a bargain yesterday. Trade Me (New Zealand's ebay) T-Bass 5 string for $850 I think that is roughly 330 pounds.

Play what you feel, make a direct effort to only do this in a certain situation. Play contrary to what your brain says. Switch off the brain and play.Record this. See if anything interesting is in there. Learn some Piano Really try to bludge of better musicians.. get into a position where your ass could be kicked. Organize practice regime to include material that you feel are weak spots. Maybe the basslines you are coming up with now aren't as good. At least your listening honestly. Now make a new line that attempts to recreate how you felt in the "good old days". Also sometimes I do not think the "job" of playing in the "band" needs to be the reason or value of the totality of our musical identity...if you can think of it as one facet maybe that will fire you up again. Transcribe some Paul Chambers, he'll give you an idea or groove for sure!

"Whisper Not" Wynton Kelly 1958 Riverside Philly Jo Jones, Kenny Burrell and Paul Chambers. I've trashed the pants off this cut in the last 3 weeks. Chambers really is the boss, his feel just makes you want to play.

I quite liked it should I apologize too? STEINBERGER Those L2 will be top $, MARK MY WORDS! the real point is in the value it gives me from playing it. regardless of others I hear you say....

I put a set of Bartolini 9J#4 in and a graphite nut. I was going to add a BadASS bridge but was happy enough with the above alterations. It records very well, if I was in any way computer useful I'd put a soundclip in.

their Pilot re-issue 5 is a winner I like that Bass indeed.

No I do not think metronome and drummer is the same thing. And I assumed that most performances will be with a drummer not a metronome, hence why one is possibly of more importance than the other. The idea of using a click track live sends shudders down my spine, and it's not much better in the studio. Part of the charm of music is the feel or groove of the players and as I posted above I am not of the opinion that this may strictly be always "in time". If the requirements of the piece are say 7/4 at 118bpm then yes, I do think a metronome would be of use for that specific piece. The likelihood of the performance being totally inside this tempo framework seems unlikely however. What happens when you sort a piece at practice and your asked to step it up or worse slow it down? The idea for me is to be able to communicate "nicely" with whoever is on the bandstand, and if that means variations in strict tempo I've got to be able to feel it. I am unconvinced a metronome can help me with this. Playalongs however, give me the sound of the drummer, plus I get to hear the chords.I think it is more likely to develop nuance and voice using these as an exercise in timekeeping.

Can the metronome help you play in time? I think it is best to groove, which may or may not be "in time". Try and get as much practice in with a drummer or piano player. Playalongs are way better than metronomes. Unless you plan to record or perform with a metronome I can't see them being much use.

D'Addario make strings for 35" instruments. Extra long scale... they have also bought out flatwounds in this lenght, which would be cool but the set is an 100 E and I want 105. um, I like D'Addario Chromes on my P and Fretless. L'Bella on the Steinberger, Bootzillas on the Jazz, DR Longnecks on the 5. Chromes take a month (maybe) to settle in. It's all smooth goodness.

my '76 maple Precision with flat wounds. It is soul goodness. Fairly high action, good for legato and for pumping 8th notes. It records well, it's just so....authentic. L2 Steinberger. it plays good, stays in tune, you can't break it, it offers a lot of tonal variety "on the fly".

Blue Bossa and Little Sunflower for Latin feel some well known standards with Female lead could be Night and Day There is no Greater Love the Days of Wine and Roses What is this thing called Love

for one off emotion hit probably from Twin Peaks "Sycamore Trees" that Black Lodge was an acid flashback, especially those bloody curtains. for totality of the film Miles Davis for "Ascenseur pour Lechafaud". this is music, you know you hear this and you go somewhere else not the Black Lodge I hope. and whilst the film "Siesta" was pants personified Miles and Marcus still nailed some good stuff.

my beautiful Wife scored me this from the local 2nd hand clothing store. not yours last time you where over this way CK?

Did the responsible thing and got them included specifically for the will. their already fighting over the STEINBERGER

as posted above Irakere. the live disc with Mr Sandoval on trumpet is goodness all the way.

I like the Boss gear partially because you can gig it with confidence. Reliable and sturdy. I think the PQ-3B is good as a solo boost and the BF-2B is cool because pumping 8's with a flang is one of Bass Pleasures.

The Blue Nile "Stay" must be feeling all soft like. Miles Davis "Blues by Five" solo transcription has nearly killed me. Equus "Tall Tress" working out the horn lines.

he's a mother. Have you heard the Rainbow Children? serious Bass Guitar on that album having Larry Graham on a couple tracks not hurt either eh?