Doddy

What's the problem? You've got a bass that can handle the gig and you can buy a good secondhand amp for good money. There is far too much emphasis put on owning expensive gear when in reality, as nice as it is, it's not strictly necessary. I've played gigs on cheap basses and no one cares as long as it works and you play it well. We've all bought gear for the sake of it but really, the gear is secondary to the playing. Go out, play with your band, enjoy yourself and if/when you have enough cash you can upgrade if you want but until then play and enjoy what you have and don't worry about what you think other people think you should be playing.

I think there has to be some give and take, but not too much. I think a cancellation charge 24 hours in advance is fair enough, but anything more than that is pushing it. 5 days? That's far too much I think.A lot can happen in that time, including the teacher getting a gig or 2 and having to cancel themselves-That's also the reason I don't charge weeks in advance.I also find it easier to keep track of the money to lesson ratio if it's paid per lesson, but that's just me.

What part of writing it down are you having trouble with? Notes? Rhythm? Just take it easy..you can already read, so you know where the notes are and their values.Take it slowly, count the rhythm to make sure it adds up and generally take it one note at a time. The more you do, the easier and quicker it will become. I've got Sibelius, but I still use manuscript paper and a pencil (to erase mistakes) most of the time.I just find it easier and quicker- It takes me half the time to write it out as it does on the computer.

Yes..alright player. I've seen that video a few times and it doesn't blow me away one bit.To me, it sums up what I don't enjoy about the whole Gospel Chops thing. People clearly dig it...great. I don't. No problems.

I've had quite a bit of experience with the GK 212ii. It's a nice amp but it didn't blow me away enough to want to buy one or replace my Ashdown rig. Out of the amps you've mentioned, I'd recommend the Rootmaster-They are great sounding amp. I've never had any reliability issues with any of my Ashdown gear. Personally, I'd go for a seperate head and cab over a combo.I've been doing a lot of gigs with my Ashdown PiBass 240 (240 watts) and a single mi12 cab and have absolutely no problem cutting through a loud horn band. I might add another mi12 or use the MiBass 550 sometimes, but the small rig has never struggled to keep up at gig.

[quote name='Dingus' timestamp='1407600732' post='2522229'] Geddy Lee is a wonderfuly unique l and inspirational bassist. Who is better than Geddy Lee? What do you perceive to be his shortcomings ? I would suggest that there are few other bass players who are as good at creating a style and using it to great effect as Geddy Lee. Which few supposedly more capable players can better Geddy Lee either in terms of dexterity , technical skill or taste and judgement? Victor Wooten? Gary Willis? Don't make me laugh . They are both as dull as dishwater, and irritating with it. When Geddy Lee plays the bass , it is a special event. He's Geddy Lee. Within his chosen idiom., who do you think could do Geddy's job better? [/quote] Didn't you argue against this point earlier? I've got a bunch of Rush albums (and Geddys solo album), and like some of it and don't like some of it, but Geddy is far from being one of my favourite players.I'd much rather listen to Willis or Wooten or any number of other artists/bands/players.

I don't think I'm selling him short at all.I find him an alright player but not earth shattering by any means. I'd much rather listen to Pino in any number of situations.

Really? Look at their credits, there's your answer. I don't get all the hype about Sharay Reed.He's a decent player, but I wouldn't go much further. Pino's history, and the fact that he reinvented himself and still gets called 30 years later,puts him in a different league to Sharay.

[quote name='timmo' timestamp='1407598188' post='2522205'] I saw him at the LBGS. You can see how good he is, but he bored me rigid. I left before he finished. [/quote] Which brings us back to the original point.

[quote name='Dingus' timestamp='1407597741' post='2522197'] Are you trying to suggest that there are Jewish bass players that are better than Geddy Lee?!!! Does not compute! Does not compute! [/quote] I was actually suggesting that there are (many) bass players in general better than Geddy.

Jeff Berlin....although to be fair, I'd put him at the top of pretty much any bass player list (not female though).

I agree on the Ibanez. I've got a BTB 6 (which I've fitted with a Roland V Bass) which is great.

I think for a good 6 in that price range you really need to be looking at buying secondhand. If you want new, you can get a Peavey Grind for about £400 and an ESP LTD for around £450 which could be worth looking at, but I think the secondhand market is the best place to look.It'll certainly give you more options.

[quote name='stingrayPete1977' timestamp='1407586699' post='2522046'] The thread was started partly in jest because dingus could not grasp the concept of peoples favourite female bass players possibly also being a bit rubbish at the same time. Surely the answer to your question is Geddy Lee anyway? [/quote] Only if the question is 'Who is the best bass player in Rush?'. I think the thing is, most people are going to say that their favourite player (male or female) is a member of their favourite band regardless of ability. You might say that Kim Deal is your favourite female player because you're a fan of the Pixies, and that's cool.No problems. However, I don't think anyone could, or would, argue that players like Esperanza and Tal and Carol are more accomplished musicians despite what you think of their music.

Stuff are just straight up groovy. I bought Live that Montreux DVD as soon as it came out, I've got a couple of albums too. Great band of great players. I'm a huge Gadd fan anyway and I think that Richard Tee is one of the greatest keys players.

Nice spot on the contour. Also, I've just noticed that it doesn't say 'crafted in Japan' just above the heel of the neck like mine does.

The ideal strap? http://www.gruvgear.com/duostrap

I'll go with 2 of your choices Pete.....but the girl off YouTube? I don't see it at all.

[quote name='Jus Lukin' timestamp='1407430042' post='2520503'] Good point too that if you're still unsure of the song, the groove and interaction is impeded, although on the other hand, you can still end up with some great grooving and interaction with duff notes along the way- schoolboy errors, as it were. I've done this when the band leaders asks 'do you know such and such?'. As I reply 'no' he's already starting it, shouting 'ah, it's fine, you'll pick it up!'. [/quote] The difference there though, is that in those moments you have to listen to what's going on and you're not focusing on yourself as much as focusing on the music as a whole and are hopefully using the knowledge of harmony and ear training that you have gained in the practice room. The reason you can still groove is because you are listening and reacting, not consciously thinking about your own playing.

I rarely play with a pick, but I've never had a problem using one if I've had to-I play guitar with a pick anyway. The reason I prefer to teach finger style is I think that it's easier to go from fingers to pick than the other way around.There are some things that I think are more challenging with a pick, like playing wide intervals, but generally I think that fingerstyle is more difficult to get to grips with, especially if you start moving towards Willis/Garrison/Erskine techniques.

Looks pretty legit to me. The few things I would have pointed out have already been pointed out. The headstock logo looks the same as on mine.

As far as I'm concerned this basically comes down to one thing....Practice. If you are thinking and worrying about what to play next,while playing music that you regularly play, then you probably don't know the material well enough. Likewise, if you've learnt a cool lick or line and you try to force it into a song, chances are you haven't practiced it enough because if you had it would become a part of your playing without having to think about it and force it. Minds wander and mistakes happen but when they do, you know what you need to practice. This brings me to another point....If you're thinking about your own playing, you're not listening. If you're not listening, you probably aren't grooving. When you're on the bandstand you should be listening and reacting to the music and the other musicians. Leave the conscious thinking in the practice room

If you wanted to be fancy about it, pop down a music shop and get some Fender Strap Blocks.They're exactly the same but have Fender embossed on them. You can get them in black too, which I think looks better than the red.

I'm bumping this rather old thread/advert (threadvert?). I've recently settled back at home after an extended period away gigging and am now offering lessons again. Feel free to hit me up with any questions or enquires.

Victor Wooten is using the Zoom B3 on his current tour, so it definitely isn't a toy. The Line 6 M series are really good too. I prefer individual pedals but I've done gigs with just an M5.