Oscar South

Edited the link but I think that people make a ridiculous fuss over electronic piracy, its an inevitable fact of modern life and many organizations are now taking advantage and cashing in on this new avenue of culture. As far as this one example goes, most people who would have bought the book anyway would still buy it (like I did), perhaps some would be more likely to buy it after seeing inside it. Anyone who wouldn't have bought the book still wont, but they might now read it.. as an author having more people read my work is something I would want to happen. All it takes is a google search to find anything anyway.

Hey, I'm starting teaching and am giving my first lesson next week. I think I'll do a pretty good job but I just lack experiance at the moment (only one way to get that eh?). Can anyone give me some advice on how you think I should prepare for it, how I should structure the lesson and also what info I should get from students? I was thinking for a first lesson I'd go over basic technique at first and talk a bit about the fretboard, then talk about the function of bass in music with examples, then go through scale/arpeggio basics and then look at a bassline which shows ways that these are used. After the lesson I'd suggest some basic scale, arpeggio and technique exercises and also the student would have the basslines learned to play. Thanks, Oscar.

[quote name='Jean-Luc Pickguard' post='233265' date='Jul 5 2008, 06:37 PM']Its not really cool to post a link to pirate content [/quote] I got the link from a different thread here on basschat, and I own the physical version of that book.

Heres a few from me: Fieldy - really original, great player, really good bassist, great tone in the context and style he uses it. However hes largely responsible for the ongoing 'mid scoop' trend, he makes it work but when you take a bunch of kids who have no idea of how to get a good tone out of any rig playing detuned or 5 string basses with oversized amps and completely cut mids, its often not pleasant. Les Claypool - amazing bassist, one of my all time favourates. On the other hand I absolutely cannot stand the millions of Claypool clone bassists who try to transplant their half arsed take on his style into whatever band they play with, regardless of genre. Vic Wooten - incredible bassist, great teacher and all round excellent musician. Unfortunately he has also introduced one of the most unmusical styles of playing to the impressionable masses. He can pull his double thumbing off well enough, but its otherwise an almost worthless technique and I'm fed up of seeing young bassists try to usually unsuccessfully work it into their bands, it wouldn't be so bad apart from the inevitably sloppy technique that 99% of 'thumpers' seem to have. Anyone got any?

Theres a section about this groove in Ed Friedlands 'Bass Grooves' book. I only scanned it but as far as the bass goes it just looks like walking.

I have to walk 40 minutes or so with my double bass most days during uni term time, I modified one of those warehouse karts so I can tie it to that and wheel it. I used to use a single bed mattress case which fitted over the top perfectly to stop it getting wet when it rains. Now apparently someone has thrown it away. I need to get hold of something to do the same job or another mattress cover as I can't afford to buy a waterproof case for it. Obviously this is a bit tricky, its pretty specific and it has to be really tough plastic. Can anyone suggest anything else that might work, or have any ideas how I can get hold of another mattress cover? If anyones bought a single bed mattress recently I'll take the plastic case off your hands heh. Cheers, Oscar.

I love Hobgoblin shops, staff and other customers are generally really friendly and knowledgeable and they have the most interesting range of instruments to try out of pretty much any music shop. Sadly not enough basses though.

[quote name='wulf' post='232117' date='Jul 3 2008, 04:26 PM']I'm very pleased with my Zoom H2 (less than £200 although more expensive than just buying a mic). If you can afford it, the advantage over mic linked up to a laptop, etc, are that it is very easy to set up not just for rehearsals but also for gigs. It's also very easy to transport around. It is everything I wanted my minidisk unit to be - an equally excellent recorder but without the hassle of getting the recordings on my computer and with even more recording time. Wulf[/quote] Yeah I had a look at that, its a bit pricey but it could be pretty useful for other stuff too (recording gigs and uni stuff), I want to look at some cheaper options first though as theres quite a lot of stuff I've been gassing for recently and I want to save a little money this summer so I don't have to work during term time next year. [quote name='cheddatom' post='232118' date='Jul 3 2008, 04:26 PM']Do you have a laptop? You can get digital dictaphones with mic input and USB output.[/quote] Yea, since we're all acoustic though (and I even have wheels for my double bass or a mandolin if I'm being lazy ) we tend to move about and practice in lots of different places, so I was planning to get something more portable than that. Also, anyone played with any of the Olympus voice recorders? Anyone got any idea how good the sound is and whether you can plug an external mic in? Cheers.

That looks pretty perfect, just need to figure out something to plug it into now. Cheers.

Hey, me and my friends want to record our jam sessions (preferably digitally), we don't mind sacrificing some quality and doing it 'on a budget'. Aside from the £200ish portable recorders, can anyone else suggest any other methods? The ideal thing would be something battery powered and digital that can carried around easily, are any of those mp3 players with a mic half decent? Or anything similar? We usually sit around in a room and play acoustically so we could just put something in the center of the room. Cheers, Oscar.

Jean-Jacques Burnel isn't too shoddy.

EZDrummer is pretty good, doesn't cubase come with some internal synthesizers though? I use sonar and the built in drums are actually pretty decent.

The best delay I've ever used is the EHX Memory Man with Hazarai

[quote name='chris_b' post='230937' date='Jul 1 2008, 09:50 PM']Not an album, but have a listen to The Awakening by The Reddings. It's got the lot. [/quote] Claypool did a version of that too that sounds much better to my ears.

I'm quite a fan of Fieldy's slapping with Korn, I'm not a huge Nu-Metal fan but Korn just hits the spot sometimes. Can't name a specific album, most fans say their early ones are much better but I think they all have merit.

The Headrush is basically a looper pedal with delay tacked on, the MMw/H is a delay pedal with looping tacked on. I've only used the Headrush once but its just much better suited to looping live than the MM, stuff like being able to change modes with your feet whereas with the MM you have to get on your knees and play with settings, and being able to remove all overdubs and return to you're original loop by hitting a footswitch, it also has a lot of support from experienced loop artists such as Steve Lawson and KT Tunstall too.

[quote name='warwickhunt' post='230738' date='Jul 1 2008, 06:00 PM']OK it has to be asked... what is Hazarai?[/quote] Yiddish for 'bells and whistles' or something like that.

I've got one too, the looping is more of a gimmick on that pedal though, very limited. The part I like about the looping is that because its stereo you can run 2 instruments through it and send each to their own individual amps so its pretty decent for just messing around with, I just wouldn't use it for live looping. As far as delays go though I've never played another pedal that even comes close to that one.

I think the influence of fingers on sound is hugely overrated, yes it has an effect and some players have particularly distinctive technique, but for the most part you can group pretty much all fingerstyle players into a few subcategories within which any differences would be minimal and players would generally be indiscernible. It kind of bugs me that since a few well known players have made a big deal or had a big deal made over their distinctive technique that every bassist and his son goes around telling people that his technique is special and unique. You are not special. You are not a beautiful or unique snowflake. You're the same decaying organic matter as everything else.

Type of and how dead my strings are and room acoustics, I use the same bass (TRB1005) with the same floor FX and EQ settings almost exclusively and the amplification is variable. Also to jump on the bandwagon, fingers I guess.

[quote name='Paul Cooke' post='229191' date='Jun 29 2008, 07:21 PM']Hey Sarah, the bass looks ace... does it cut the mustard soundwise as well?[/quote] Why would that matter? Bass is 95% image, everyone knows that .

I thought funk bassists were bad for playing too many mute notes, but this bassline is ONLY mute notes.

Aphex Punch factory is a great compressor to start off with as its not hard to make it sound good and the visual dB reduction bar is extremely useful for getting a visual idea of what the controls are doing.