Doddy

To be fair, I really like my Fender Jazz Deluxe 5 (Mexican). It plays and sounds great, and i got it for a bargain price.. I think a lot of the negativity towards Fenders five strings is unfair.

It's not easy to say if one bass would suit you because I don't know how,or what, play. The thing is, you could spend a fortune on a fancy instrument that has all the bells and whistles, but then you get a call that requires a Precision, or a fretless or something, and all of a sudden your one bass to rule them all isn't ruling anymore.

[quote name='Coilte' timestamp='1413725934' post='2581231'] http://www.gruvgear.com/duostrap Perhaps one of these is worth considering. A bit on the expensive side, but what price your health and comfort ? [size=4] [/size] [/quote] Without a doubt, the Duo Strap is the best strap I've ever used. It makes it really easy to play long nights without any shoulder ache because it balances the bass over both shoulders. I was using the Comfort Strapp before, but the Duo Strap is far superior. If you didn't want the Duo Strap, Gruv Gear also make the Solo Strap which is the same great quality but only for one shoulder.

The problem with all these ideas for testing if wood makes a difference are neglecting one major factor-the player. One player can play 3 distinctly different basses and sound pretty similar, if not the same, on all of them. Another player would sound totally different.

[quote name='Billy Apple' timestamp='1413642068' post='2580461'] Is he the 'chase me' fellow? [/quote] Nice.

[quote name='JapanAxe' timestamp='1413635054' post='2580369'] There is no key of G# (although there is a key of G#m). I'm sure that's cleared up the confusion! [/quote] Not strictly true. It's very rare, but the key of G# does exist. The key signature is written as 6 sharps and a double sharp on F. Like I say, it's very rare to see it (I've never had a chart written that way) but examples do exist.

I don't agree with the thoughts that only the US models should be branded Fender. You could say the same for a lot of companies (Lakland, MTD for example). I think it's a good move by Fender because it opens up the range to all levels of players, and let's be honest, Fender is still an aspirational brand for a lot of people, so to be able to buy a genuine Fender on a budget is good for both the customer and the company. What I do think is that there are too many variations in their line-Standard,Special, Deluxe, FSR, Signature etc. Most are just slight variations of each other, and they could easily bring the line down to a few standard models to cater for different budgets.

[quote name='Japhet' timestamp='1413614575' post='2580098'] Yep, I understand this. What I don't understand is when 'proper' musos tell me that the key of Ab is different to G#. [/quote] It's so much easier to write in the key of Ab than G#. Seriously. Ab has 4 flats, G# has everything sharp (Inclding a B#, E# and an F double#). Back to the original point, the current annoying one is being told to play Get Lucky in B!!! Wrong on a couple of levels.

Very annoying.

[quote name='Dad3353' timestamp='1413545031' post='2579329'] Yes, the Roman numerals are really just another way of expressing Root (I..), 3rd (III...), 5th (V...) etc, merely for concision. Used really for expressing chords, though. It's easier to write I IV V the 1st, 4th, 5th. [/quote] You're right in second part. Roman numerals are usually written in respect of harmony-so I, IV, V would indicate (for example) CMajor, FMajor, G7...or whatever depending on what key you're in. Chord/scale tones are normally written as 1,2,3....etc. Sorry..I don't want to confuse you.

[quote name='tedmanzie' timestamp='1413544719' post='2579320'] Thanks, very helpful. When you say it would be 'good to be familiar with the major scale' do you mean learn root, 3rd & 5th in the 11 roots? A, A#, B, C etc [/quote] I mean understand the way that a major scale is spelt, like Bilbo said. That makes it easier to understand the chord tones. Of course, you should still practice them in all keys like you suggest. One quick, but important point...when you start playing these exercises, it becomes very easy to start playing fingering patterns blindly. If you want to really learn them, you should take your time and learn what notes relate to what chord.It will give you a deeper understanding and open up the whole fingerboard

I'd at least be familiar with the major scale because it makes it easier to talk about chord tones. Basic chord tones are made from the first, third and fifth notes of the scale, so in C the chord tones are C,E,G. A minor chord will have a flattened third, so C minor will be C,Eb,G. If you then move on to 7 chords, these made from the same basic chord but with the seventh note of the scale added.So taking C again, a C major7 chord will be C,E,G,B. For a minor chord,take the basic minor chord and add a flattened seventh, so C minor is C,Eb,G,Bb. The next chord is slightly different and is known as a Dominant 7 (written as C7). A dominant 7 chord is basically a major chord with a flattened seventh, so a C7 will be C,E,G,Bb. This is a basic way of explaining chord tones as there are many variations and it can all get pretty deep. Start with basic major/minor chords and progress from there. Feel free to ask questions-I've got loads of chord tone exercises.

[quote name='TheSiberian' timestamp='1413363225' post='2577422'] I heard voices in the F1 race that the only difference between Ferrari and Mercedes are the tyres... [/quote] Sarcasm? *wink*

[quote name='Dad3353' timestamp='1413371789' post='2577570'] Does the wood used for the sticks (Hickory..? Oak..?) influence the sound much, or at all..? Similar debate, I'd say. [/quote] Did you ever see the video thst Vic Firth made in the '90s (I think) about that? Dom Famularo was basically playing a cymbal with loads of different sticks to show the sound difference. You could hear the difference, to a point, in stick sizes and between wood and nylon tips, but the difference between, say, a 5A in maple and a 5A in hickory was inaudible.

[quote name='TheSiberian' timestamp='1413304353' post='2576954'] But ears should...at least if they are open. [/quote] I'm not arguing the different acoustic properties of different woods. What I'm asking is do the magnetic pickups in an electric instrument actually pick up the vibrations of a solid piece of wood? Personally, I think that body wood is a minor factor in the sound of an instrument. I think the difference between EMG and Bartolini are far more important than the difference between ash and alder. The biggest factor though is always going to be the person playing the instrument.

Magnets don't pick up wooden vibrations do they?

I don't know much about string spacing because generally I just go by feel,but I know that my Ibanez BTB is wider than my old Tobias. There is plenty of room on both basses to slap, but still comfortable enough to be able to play chords in the upper register. Both are wider than something like the Ibanez Gerald Veasley which isn't the most comfortable for slapping, for me. Just had a look at the specs and the BTB is 17mm and the Veasley is 14mm. I'm guessing the Tobias will be about 16mm or somthing. The Ibanez is a 35" scale which I don't mind, but I feel more comfortable on a 34", just like when I play 5 strings.

[quote name='Dad3353' timestamp='1413280646' post='2576566'] I'd write a 'ghost' note by putting brackets around it. An 'x' would be for a 'dead' note. I don't know if there's an official line on this; some software doesn't have these nuances available, so could adopt a different approach. [/quote] I don't think there is really an official line on it- I've seen ghost notes written both as an x and as a bracketed notes, although the cross head is more common in modern charts. It's more common on a drum part to write ghost notes as a bracketed note because cymbals and rimshots are usually written with cross heads so it differentiates them.

I understand why people would think it's an attractive prospect-hey, it tells you where to put your finger...ace! What I don't believe is that tab is easier to learn, especially if you are shown basic reading very early on your playing. I've said in the past-if people want to play from tab, fine, that's their choice, but I will not stop advocating that they learn to read instead and promoting it's many benefits. The problem is that it always gets people using words like 'elitist', when that has nothing to do with it.

[quote name='Dad3353' timestamp='1413116171' post='2574990'] Devil's advocate..? There's nothing to prevent writing 'Key: A' at the start of a tab. Maybe more explicit even than the standard notation method..? The 3rd of C is E for major, but Eb for minor. Does standard notation tell us that..? Hmm... Intervals come from knowing theory, not the notation of that theory, I'd say. If the notes are shown in tab, why would one need to know which are sharpened or flattened..? Play 'em 'as is', and they'll be correct. No, I'm not saying that tab is better, simply that, from a score reading point of view, one only sees the score reading point of view. There are many that see things differently, for many different reasons. Standard notation is excellent, and has proven itself over centuries. That doesn't make it best choice for all, every time. Tab has its place, often. Why would that be a problem..? ...and yes, it's instrument specific. A piece, written in standard notation for piano, would not be suitable for playing on a flute, too. Yes, one could read it, but not play it. Notation doesn't have to be suitable for all instruments. I use drum scores; I'm a drummer. Can they be played (or even read..?) by an organist..? Not really. [/quote] Yes the notes come from the theory, but the notation spells that out for you. It shows you exactly what the note is, not just where to put your finger. It doesn't matter what instrument you play or what tuning you are in or anything, it's shows the intervals. The notation does tell you the difference between major and minor-it will all be there in the key signature at the start. If it is an accidental it will still be notated clearly. I'm sure you could write 'key of A' at the start, but it doesn't tell you anything about the notes in the piece. You see the key, and you still play the notes 'as is', you just play off the actual notes rather than just numbers.If you have an interest in theory, like the previous poster did, then notes are the basic language that conveys the information. On your point about instrument specific scores, you could actually give a flautist a piano score and they could play it...they obviously can't play multiple notes at once, but they could play the top line melody. Drum scores are different because you're not dealing with pitches, but the rhythmic part is still the same.Once you learn which line each drum is written on, it's not that much different and still understandable by other musicians.

[quote name='Heket' timestamp='1413111749' post='2574938'] . I like theory and I like getting to the bones of the music, although I'm not sure how notation helps with this, can someone clarify? [/quote] Taking a few basic theory points ,like key signatures, intervals and chord tones, non of it is shown in tablature. What is the 3rd of C? It's an E-not fret 2 or fret 7, or 12. What notes are sharpened in the key of A major? I've never seen a key signature in tablature. In notation, it's all there at the start. How do you know what key a song is in with tab? That's just a couple of really basic, but important, things. Remember, tablature is instrument specific...theory is not.

I use the Ashdown MiBass 550 and PiBass 240 amps. The Bergantino cabs are great, but so are the Ashdowns.I used the 550 with the Bergantino for a while, until the MiBass cabs came out.It's all I've used since. I've probably gone against the grain of most peoples opinion on here because my previous rig was the Bergantino HS410 with a Genz Benz Neo Pak 3.5 amp,but I can honestly say that I can do any gig with Ashdown rig and get a great tone. Plus, it fits in my car without dropping the back seats. It's my favourite rig that I've used since I started gigging.

I don't have a problem with Chinese made instruments. They are making some very nice products. It was only a few years ago that people used to be very disparaging about Korean made instruments, and now they are becoming quite expensive and highly thought of. The same thing happened with Japan 20-30 years ago.

I held off from commenting on this until I'd heard the album and read the Bass Player interview. I'd seen a bunch of their cover videos and enjoyed a couple of them, mainly their take on 'Circus, but wanted to hear what they could do in their own right. There is no doubt that the guys can play-Hendrik plays some very nice stuff-but I really didn't like their album at all. To me, the whole album is pretty much summed up in the first 8 bars of 'Hit Me'-the big drum fill, the slapped bass fill, the horn/orchestral hit style keys stabs, and the faux Mariah style vocals (that was the worst part for me). I just thought the songs were poor ('Sexy Girls'...really?) and there wasn't enough excitement in the playing to keep me interested. I'd love to hear Hendrik in a situation away from Dirty Loops where he'd be able to prove himself as a top musician.

I prefer single effects. I like being able to just turn a knob and get the sound I want quickly. I also like that I can take just what I need,or want.If all I want is an overdrive, i can just throw one in my gig bag without taking everything else. I also like to swap and change pedals and change things around to try and get different sounds.