ambient

That's all slap is really, just listen to Mark King particularly. I like to listen to trombone especially, not so much tuba. I used to play a lot with a great trombonist, unfortunately he moved to Sweden. I played in his jazz band, he loved playing ballads. To hear him play and solo over something like My Funny Valentine was very inspiring.

I know I keep saying this, but I am determined to come and see you play. I've finished uni now too

Sight reading is a good skill to have, as is being able to quickly transpose lines that you know, or have written down into new keys, singers can be awkward sometimes. BV's are useful too. Despite what was said earlier, having confidence in your abilities is really important. It's really no good having the ability to do something if you don't believe it. If something goes wrong in a song, maybe a guitarist goes somewhere he shouldn't at the wrong time. You have to be confident to keep it together and know where you are in a song, and know that you are right and take control. That's something that I was told many times by my tutors, I'm not the most confident of people sometimes. My tutors being London session players with years of experience.

A friend of mine from uni, (we studied music together), does a lot of dep gigs, and tours. She's good, but I think confidence has a lot to do with it too. Though doing lots of gigs and touring will give you that confidence.

[quote name='RAY AGAINST THE MACHINE' timestamp='1432480337' post='2781847'] Cool! Looks like the dittox2 then for me . [/quote] Check Thomman, I got mine as B stock from them and saved £50, it was mint.

I bought Muri's MXR chorus pedal from her. An excellent pedal, and a really nice person to deal with.

I would not be responsible for packaging a bass that wasn't mine. What's the guys name ? Someone might know him outside of here.

I've been using a ditto and a ditto x2 together, different loops on each. Both are great, really great. I just bought the ultimate which is a looperlative.

Is it just me, or does the strap attach to the bag in the most stupid place ? It attaches to the bag on the middle of the back of the bag, instead of at the top. So when you're carrying it, it leans forwards and sticks into you, very uncomfortable after a while.

I have just one, and I use it to cover everything possible, from a standard jazz type band that I play in, to a JoJo Mayer Nerve type band, to my own ambient/solo bass stuff. It's a bass that I've wanted for years, and I just snapped it up when I saw it for sale, even though I had to sell my other 3 basses to pay for it. It's pretty much perfect, just a shame it's not a fretless.

Here's another example, in section E in the 2nd time bar after the repeat sign. This is one nation under a groove by funkadelic. [attachment=192616:Photo on 23-05-2015 at 02.08.jpg]

Here's an example in in George Clinton tune. Same thing every time, from the D up to the E. [attachment=192615:Photo on 23-05-2015 at 02.00.jpg] [media]http://www.youtube.com/watch?v=6QIw1BQIvT4[/media] You can hear they kind of sound like slides up.

[quote name='bubinga5' timestamp='1432340382' post='2780728'] sorry Ambient. it was the wording i was confused with. its not hammer on, its a percussive note, in my crazy world i refer to it as a ghost note. thats not actually a note, but a percussive note that is used to accentuate the following note to give it some groove. [/quote] Not percussive no, it's actually played as a note, not a ghost note and not percussive, a ghost note has no pitch. It's like here in bar 2 with the little A to the G. [attachment=192613:iu.gif]

[quote name='bubinga5' timestamp='1432338544' post='2780719'] what are grace notes.? [/quote] Kind of like a hammer on, but you would actually play the second note rather than hammering on. Usually just a tone at the most from the second note. On a score it's shown as a smaller note with a line through, and a tie to the next one. It's also known as an appoggiatura which means to lean into.

I think most people go through phases of using various articulations, maybe slides one month, then something else. Then when you listen back some time later, you really hate them because you've moved on and are doing something else, that you'll maybe also hate 6 months later

Have you thought of contacting your local music college ?

[quote name='ras52' timestamp='1432305701' post='2780277'] You don't have to... and (getting OT) I'd argue that it's usually better not to. Typically 5/4 is (3+2)/4 or (2+3)/4, so it packs in more information about the music to tie a dotted and an undotted minim/half-note. [/quote] I was using the whole note and crotchet as an example of the oddness of calling them whole notes, when they aren't in a bar of 5/4

I like the sound that Linley Marthe gets from his. [url="http://www.youtube.com/watch?v=wuY4JP5TcTk&spfreload=10"]http://www.youtube.com/watch?v=wuY4JP5TcTk&spfreload=10[/url]

[quote name='Dad3353' timestamp='1432291622' post='2780052'] Incidentally, we often see '16th notes', or '8th notes'; should these not be semi-quavers and quavers..? 8ths and 16ths would only be true if referred to 4/4 time; the equivalent for 3/4 would be 12th and 6th notes, no..? Is this just another Americanism taking over..? In French, a quaver is a 'croche', a semiquaver a 'double croche', then follows 'triple croche' and 'quadruple croche' etc, whatever the time signature, none of this Yankee stuff. [/quote] I don't like the terms 8th and 16th's either. I prefer quavers and crotchets, on my degree we were taught both. I'm guessing it all relates back to 4/4 time, otherwise known as common time. If you have a piece in 5/4, then a 'whole note' still only equals 4 beats, so for a 'whole' note throughout a bar you have to use a whole note and a crotchet or quarter tied together.

I managed to cure it by changing my effects chain about. The volume pedal is now in front of my pedalboard, instead of afterwards. Thanks for the replies though 😊

Marcus Miller ? Gotta be honest with you, but I agree. I've never gotten along with them. I had a 5 string USA and a 5 string USA Marcus Miller, thought both were pretty badly made, and very uninspiring soundwise and to play. But, they seem to be very popular with musicians in most genres of music.

With the double thumbing thing, it's a case of just catching the string with the very side of the end of your thumb on the upstroke. Get too much underneath and you end up getting tangled up. With any technique, it's a question of practicing it, but it's also very much a question of [u][i]do you really need it[/i][/u] ?