Doddy

I seem to remember reading that a few of the guys that auditioned were Doug Wimbish, Charley Drayton, Kenny Aaronson and Joey Spampinato. Wimbish already toured with Jagger and Spampinato had worked with Richards.

You don't need to visit every teacher, you can easily get an idea of them with just a call.Ask questions and see if they know what they are talking about and can actually teach music rather than licks and tabs. Where are you based? Someone on here might be able to recommend someone. Don't be swayed too much by cost (although of course it may be a factor), look for the teacher who can give you what you need.Out of interest, I don't know anyone personally who offers first lessons for free.

You can learn on your own with online lessons or with books, but I'd still recommend at least a few lessons. If, for example, you are are learning to read it is a big help to have someone who will tell you if you are playing something wrong.If you're going it alone it can be easy to make mistakes and let them slide until the mistake become ingrained and harder to correct. Finding a teacher will help you get the basics down correctly which will make it easier for you to study more on your own. There are some really good online lessons but there is also a lot of very dodgy information and unfortunately there is no sh*t filter.

Have a look at the Ashdown MiBass stuff. I've used them exclusively since they first came-mostly the MiBass 550 with either one or two mi12 cabs.I've been using the PiBass a lot lately with just one cab.I use a lot of effects at times, as well as Upright and Synth, and it's handled everything I've thrown at it. They have a slightly different sound to the ABM/MAG range.-I like a full range, hifi sound and I can get it with this set up, but also got a lot of range on the EQ. Have a look at the new Rootmaster amps too.

I'm not saying that 3x10 would be better than 1x10 + 1x15..I'm saying that that would be my preference. I've always prefered 10" or 12" speakers over 15".

[quote name='SaxyBassist' timestamp='1408293645' post='2528713'] ah okay - now here is where I get confused [size=4] - why 10" rather than 15"? and what about 2 x 10" ? [/size] [/quote] I'm just not a big fan of 15" speakers, and I think that the 10" extensions cab would give you a nice 2x10 rig. The 2x10 cab would work, although I don't know how well it would stack vertically with the tilt back design (assuming you are meaning the matching Promethean cab). It'd probably be fine though.

Big enough for a pub? Yes Big enough for Village Hall? Yes. Big enough for Wembley? Yes. Keep in mind that on bigger gigs you'll probably have PA support, so no problems there. The only thing I'd do is look at another 10" speaker rather than a 15".

I think it's always worth having a DI box anyway, whether you use it or not.They always come in handy. There shouldn't be any problems with using your amp,though. I'd also be wary of going without backline unless I was using in ear monitors. In those situations I either use my Ashdown MiBass (or PiBass), Line 6 Bass Pod XT or a Sadowsky Di/Preamp just so I have a little bit more control. However, a good passive DI will do the job great. I always carry at least one DI box with me.

[quote name='JTUK' timestamp='1408267338' post='2528392'] You wont get a funk gig playing pick, and you wont get a metal gig with fingers. I know there are a few exceptions, of course, but try it at auditions.. [/quote] I think that's pretty irrelevant, to be honest. Sure, there are more metal players who use fingers than there are funk players who use a pick but as long as the job gets done then nobody cares...unless they are mostly posers, in which case your technique is probably as important as your hair.

If playing over a 4 fret range is uncomfortable in the lower positions, look at your technique first. You don't have to play with one finger per fret. Try the Double Bass fingering of playing over 3 frets, (so if you are in first position your index finger would be on F, middle on F#, ring and little together on G), and use your thumb to pivot and shift.As you go higher up the 'board you can move to a 4 fret stretch, but I'd recommend trying the other position in the lower range.

[quote name='BigRedX' timestamp='1408182534' post='2527848'] Do any chorus pedals come with a crossover, allowing you to apply the chorus sound to the upper frequencies, leaving the lower ones to pass through unaltered?. [/quote] The MXR apparently can keep the low end clean while applying the effect to the high end. I've had a lot of success with an old DOD Ice Box, but since the tail end of last year I've been using a TC Electronic Gravy. It sounds great and I'm really happy with it.

[quote name='discreet' timestamp='1408040200' post='2526580'] I dunno, but it wouldn't look out of place round Les Claypool's neck. [/quote] It's definitely Robert Hurst on his Ken Bebensee bass.

[quote name='BassTool' timestamp='1408037830' post='2526546'] Now that.... is class [size=4] [/size] [size=4]Anyone know what the bass is? I saw one very similar locally and it sounded amazing, I've wondered what it was since then![/size] [/quote] I believe it's a Ken Bebensee

[quote name='bubinga5' timestamp='1408033251' post='2526481'] i don't really care, it has no substance for me I'm afraid. just a guy writhing around playing drums to a rubbish cover on a show. i did say it was just my opinion. [/quote] I've got no problem with you not liking it, I'm not a fan either but the whole thing isn't about substance, it's about entertainment. There are drummers who've been doing that kind of thing for years, with all the stick tricks and stuff.This guy has just taken it to an extreme. In that clip, by being out front, he's meant to be the focal point and it has absolutely nothing to do with his playing. It's like watching a footballer doing keepy-ups on his own.

[quote name='bubinga5' timestamp='1408031233' post='2526443'] i really don't care about gear or any endorsement.. not everything is based on becoming famous or getting gear thrown at you. and its not about his talent as a drummer. its the way that he projects himself. (no snootiness intended) its all about a bit of self respect. [/quote] What about self respect? He's put himself out there as a very animated showman and it's put him in a position where a lot of people are talking about him. I'm sure he's got plenty of self respect-if he didn't he wouldn't have capitalised on the success of the first video.

I don't think he's a great player by any stretch but since the 'drummer at the wrong gig' video he's had companies throwing gear at him and been getting loads of publicity,including appearing in an episode of The Office. The showboating clearly worked for him.

I think there is still an element of the Bass being viewed as an easier option to the guitar amongst many, which gives them the feeling that they don't need to have lessons. Bilbo mentioned that some people get the hump when talk turns to 'music' and I totally get that..but as Jake said, there is a huge difference from to playing in your band and taking it to the next level and it's learning music that will help take you there.It kind of sorts out who are the more serious players because it doesn't have the instant gratification of learning a cool lick or song (with tab), but it's far more important and the benefits are huge. With regards to playing a bassline and most people not recognising it, I'd say you need to show recognisable lines then. 'Stand By Me' keeps parents happy and and teaches a common I,vi, IV, V progression, for example.

I don't see any downside to jamming, as long as everyone is listening and reacting to each other. The problem for me is when it becomes a stagnant one chord vamp or Blues which is purely for a guitar player to solo over. Sound familiar? The jams I enjoy most are the ones that start off with a form and start moving around as everyone reacts to one an other and takes it to another place. Playing the stock arrangement of Saw Her Standing There with different people isn't really a jam unless it naturally evolves into something else, as far as I'm concerned, because rarely there are any jam qualities-everyone is usually playing their part the same way that they always have. That's why I prefer a Jazz jam....they can open up into a more reactionary situation where you have to listen intently rather than playing stock parts.

I think you've kind of got a point. With regards to the types of student, I've found that the ones who are regular tend to be either the serious hobbyists or the teenagers who love playing and want to improve.The occasional students are usually the more advanced players who are looking to improve certain aspects or concepts. The one timers are often the ones who want you to blow smoke up their arse but struggle when you present them with things (often basic) that they can't do. About teaching full time, I'm not doing much at the minute but I'm building it up again, but there is always a problem of the market becoming over saturated. There are a lot of teachers about lately and the number of students is fewer. I know guys who have been constantly busy teaching for years and even they are struggling right now.Potential students don't have the disposable income right now to pay for quality lessons.

There is no randomness to the majority of walking bass. Without looking at the clip, I'll just tell you a basic approach to walking. At it's core a walking line is about outlining the chord changes, so start of by studying chord tones. A lot of Blues walking lines are relatively simple in this regard and are often very little more than this.Most Blues are based around dominant 7 chords so focus on them to start. From there, you can look at applying non chord tones as passing notes to smoothly move between changes. There is a lot of depth in walking lines and it is a serious study on it's own, but if you start to study the chord tones you will get a good foundation.

I never bothered with Jam nights because they pretty much all ended up as solo acoustic guitar playing singers playing their own songs or a band getting up en masse.There was never any actual jamming. With regards to playing songs that everyone knows-I think, for the most part, it's better to have a form to the jam otherwise they tend to descend in to a one chord vamp (usually in E minor) that goes nowhere. That's why a lot of people jam on a Blues, it gives you a form.

I always have a look around their stores,you sometimes drop on a bargain but lately some of the prices are a bit stupid. £30 for a Behringer distortion???? No thanks.

[quote name='stingrayPete1977' timestamp='1407876374' post='2525027'] As I have said in countless threads before though regarding "all the gear no idea" there are players that are also "all the gear and sh*t hot" and "sh*t gear, sh*t player" too, its a dangerous assumption that I have seen a trend for where people tell tale after tale about this guy with the £50 P bass that are on a world tour etc as if all people with budget gear are going to play John Patattuci off the stage with it, much more often they are not [/quote] Very true....but Patitucci would still play rings around the majority no matter what bass he played. The player is far more important than the instrument.

I've mentioned this before-A couple of years ago I split quite a big show with Paul Westwood (look up his credits-he's one of the busiest session players in London). I used my Japanese Fender Jazz. Paul's main Bass? A Hohner Steinberger copy.He sounded great.

[quote name='bonzodog' timestamp='1407777596' post='2523932'] Don't get me wrong, I know my priorities and am blessed with health and family. It just gets you down sometimes when you struggle to even afford basic stuff. [/quote] Don't let it bother you, it's not important. If it's a hobby (which I assume it is), then just play and enjoy it. It's not worth getting down over. People read magazines and (especially) forums and feel that they need 'better' gear, when they don't. The biggest factor is how you play, not how much you spend.