SteveK

I bought the [url="http://www.guitargrimoire.com/gt03.htm"]guitar version of this[/url] many years ago (don't think there was a bass version then). If the bass version is anything like the guitar version, then, it's Probably got every scale/mode known to man.

[quote name='blamelouis' post='1141749' date='Feb 25 2011, 08:55 PM']BIG Jaco fan but hadnt heard that before ...thank you for that [/quote] You may also enjoy [url="http://www.youtube.com/watch?v=89WkxKpevLg"]this from the same album[/url]. Doesn't feature Jaco in the same way, but IMV his contribution to the theme is the icing on a great track.

Respect to Pete Academy for his restraint in his response to BigRedX's post. I'm sure on re-reading BigRedX regrets his post and will want to edit it.

[url="http://www.youtube.com/watch?v=sMXz7FUi4-I"]Jaco's "burp"[/url] in all it's glory. The guy deserves respect from each and every member of BC

[quote name='Faithless' post='1138656' date='Feb 23 2011, 03:01 PM']I'm going to fly with Ryanair to London next week, and I've bought my bass an extra seat to have it with me.. and my question is - can I have things like cable, strap, etc in my gig bag to bring into the plane? The thing is I don't have checked-in baggage, so if I'm not permitted to bring that crap along with me, they gonna stay at home..[/quote] Done it many times over the years. They are not restricted items. Shouldn't be a problem.

Looks to me like a confidence issue or a technique issue.

[quote name='endorka' post='1135197' date='Feb 21 2011, 10:35 AM']This and the similar sentiments expressed by others in the thread surprises me. Jennifer[/quote] Come on Jennifer, the word "shallow" in the topic title should've been enough to tell you that this was a [i]males only[/i] thread.

[quote]Anyone else as shallow as me? smile.gif[/quote] When I got my first brand new sunburst Fender Precision (very early 70s). I would wake up in the night, switch the light on and marvel at its shape and contours... ...and then I would look over and notice the bass Of course you're not being shallow. We're all a big bunch of kids who want to look cool.

[quote name='robocorpse' post='1133236' date='Feb 19 2011, 11:54 AM']Its a guitarists technique that the bassist has to follow to make it easier on the ensemble.[/quote] Why? I totally understand why a guitarist would use such a tuning. But why a bass player? He won't be playing open power chords...will he? The same notes are available, he just has to reach them in an unorthodox fashion, which would make study bloody hard work.

I understand the need for drop tuning, but I can't figure what advantage there is for C# G# C# F# tuning. You say you haven't been playing long...I can't help thinking you're making a rod for your own back. Not sure how much harder you could make it for yourself

Probably a "must have" if you're thinking of joining an 80s tribute band Always thought they looked hideous. Does anybody (apart from Mr Rhino) still use one?

The fact is - regardless of which end of the note you tune to, you are still gonna be more in tune than your keyboard player

[quote]The main problem i have is the D and G string are just not prominent in the mix and really do sound thin.[/quote] If the D & G sound thin in comparison with the E & A strings, then, providing you're not trying something extreme EQ-wise, I would first check the set up of the bass. Is the action uniform across all strings? Are the pickups and strings aligned?

[quote]Whadd'ya reckon?[/quote]Don't worry about it. [quote]Having just got a korg pitchblack+, I can actually see it happening... the note starts sharp, comes into tune and then goes flat....[/quote]Forget what the display shows, it'll just make you neurotic. The difference you see is totally insignificant.

When playing straight octaves (low to high) I think most players would find it easier playing down - up. However, when I first started playing (we were still living in caves) I used a pick, and I figured (or I read) it must be better to learn exercises, scales, modes, phrases etc both ways, ie. starting with down-stroke and then the same starting with up-stroke. I've pretty much stuck with that idea ever since. Even when I started playing finger style, I would start with the first finger and then reverse the fingering.

If you see two 1962 Fender Precisions for sale, similar condition. The first bass 20 previous owners, the second only one previous owner - you would still expect to see them priced about the same. Number of owners is irrelevant - It's all about the condition.

Just done a quick Youtube of the song. The chorus is played with a pick and consists of an 8th note followed by two 16ths an octave up, a la dum diddy dum diddy etc If you've only just started playing again, then I think you will probably struggle to play it the conventional two finger style. I would think a pick would be easier (and more authentic). Definitely do not attempt all down strokes - you'll do yourself a mischief Another way, you could try playing the lower (8th note) with the thumb, and play the higher octave (two 16th notes) with the fingers.

Whatever you learn, try it out in a musical context. Get together with some musician friends, or if you have some recording gear, try recording a simple chord sequence, and have a play around with what you've learned. Listen to how the scales and modes sound - experiment! BTW learn to play the scales and modes over 2 octaves and beyond, and using different intervals 3rds, 4ths etc. Edited for clarity

Fretted or fretless, if you set the action too low you will get rattles and buzzes and may notice a deadening of the note. The ringing could well be the truss rod. I've had it in the past on a couple of basses. A slight adjustment may fix that. If it only happens on open strings check that the string is located in the nut properly and that there is a reasonable angle over the nut.

[quote name='The Funk' post='385003' date='Jan 19 2009, 02:44 PM'][quote name='Leowasright' post='384794' date='Jan 19 2009, 11:15 AM'] 3. Tap your foot!!!!!!![/quote] NEVER!!!!!!!!! There's no need for this whatsoever - and for some people it distracts them from playing in time. [/quote] I can't imagine not tapping my foot. If you're not tapping your foot then you've got to be moving some other part of your body. IMV if you aint moving, you aint feeling it - and if [b]you[/b] aint feeling it, how do you expect a listener to.

[quote name='EskimoBassist' post='1090652' date='Jan 15 2011, 05:19 PM']That sounds like a truly magical evening, I must admit to feeling rather jealous reading your account of it![/quote] Yeah, it's not too often that you get to share a changing room with "God". For all you younger members [url="http://www.amazon.co.uk/Clapton-God-Various-Artists/dp/B000S6EYN0"]God[/url]

And once you've got a basic handle on chord tones and diatonic scales and modes, the next step ( ) would be to incorporate chromaticism into your walking bass lines. Chromatic approach notes can really make a bass line flow and swing, and opens up near endless possibilities.

I was asked by two of my band mates to do a couple of songs with them at a gig organised by Paul Jones. My boys had their work cut out as they were accompanying all the guest musicians for two nights. I wasn't at all envious of them at that point. I got to the Cranleigh Arts Centre at 4pm on the 13th (yesterday) to run through a couple of things. Later on Paul announced in the green room that a special guest was on his way and would be doing a few numbers. Sure enough the guest arrived and stood at the green room door at which point Paul got to his feet to welcome him. I was busy tuning up and generally getting ready, until Paul said, "Eric, I'd like you to meet the guys". I looked up, and sure enough there was Mr Clapton. The 200 odd punters (sold out both nights) at Cranleigh Arts Centre were in for a treat, and boy did they get a treat. He did 3 numbers, trading solos with the 2 other guitarists and keys player. I stood at the side watching my boys on stage with "Mr Slowhand" himself...now I was envious Gotta say, Eric played and sung great, and was obviously having a ball, and the whole band were tremendous. I got up and did my stint a little later which included a slightly heavier version of Mighty Quinn than Paul will have been used too, but he did great as did Robert Hart who shared the vocals. A great and unforgettable night was had by all. [url="http://www.whereseric.com/eric-clapton-news/303-eric-clapton-guests-paul-jones-charity-gig"]EC at Cranleigh[/url]

[quote name='wal4string' post='1086984' date='Jan 12 2011, 06:02 PM']I read that she was in so much demand at this time she kept a diary which she still has, and apparently the diary clearly states that she played on the session, but yes it has Jamersons chromatic trade mark runs all over it.[/quote] We've all read/heard about [i]Jamerson and Kaye, who played on what?[/i] I feel that It's possible that Kaye has been a little maligned in this debate. In the session world it's not uncommon to have 2 or more musicians do a part. I don't know the history of the track, but It is possible that Kaye did the "I was made to love her" session and then had her part replaced by Jamerson, or vice versa. Maybe the entire session was scrapped and started again with different musicians. I have (once or twice) been called to replace an existing bass part. It's also quite probable that some of my parts have been replaced. I've even been credited with sessions that I have absolutely no memory of.

Used Rotosound Swingbass since about 1973 and never had a problem with them until the late 80s, when I started having trouble with the E string in some packets. Not tried them since - may be they've improved their QC since.