SteveK

[quote]Exactly what I was thinking. It does so wind me up. And then you get people trying to out-muso each other with their "how could everyone ignore .... " when it's someone really obscure. Such pointless discussion.[/quote] Couldn't disagree more... ...I'll elaborate when I get back...got a flight to catch. Steve

[quote]For a minute I thought The Grauniad had taken over BC. Just two comments:- 1. Strange that whenever a discussion of 'who's the best bass player?' starts up, by the end everyone gets a mention including the guy down at the pub. Some appear more often than others of course. 2. No one ever considers the great contribution made by the upright players, probably because their knowledge is, er, finite? limited? tunelled? - fill in as appropriate.[/quote] The article [i]was[/i] entitled "[b]School of rock[/b]: Who are the aces of bass?" Guess if AC/DC had an upright bass player they would sound something like [url="http://www.youtube.com/watch?v=7mU2lJKkQ04"]THIS[/url]... Yeah, I know they use an electric bass, but you get my drift?! Steve

[quote]The article dismisses Oasis entirely, which is (I think) mostly right on the money.[/quote] [quote]totally agree there, the most overated band of all time (IMO of course) yeah blur has some real nice bass lines in there, not bothered about how alex comes across but how the lines come across.[/quote] Not a fan of either band. But, at least (with my limited knowledge) with Blur I had the feeling that they were at least [b]trying[/b] to be original. Oasis just seem to deal in clichés. McCartney's contribution to the evolution of bass playing can't be rated highly enough...IMO, of course . [quote]Yes, I stumbled across this earlier today but did not feel ars*d to either add to the debate or post it on here![/quote]But, you [i]could[/i] be ars*d to tell us that you [i]couldn't[/i] be ars*d Steve

They're located either under a cover on the head-stock, or the other end where the neck joins the body. A word of warning: If you decide to adjust the truss rod yourself make sure that you only give it the slightest tweak clockwise or c/clockwise before checking. overdoing it could cause serious problems.

[quote]Remember, if the drummer's timing is OK, who cares about the click? Jerry Lee Lewis didn't use one.[/quote]Indeed! And a very good friend of mine and band member (Drums) has just finished a solo album. Got some great guests, including: Jeff Beck, Pino Palladino, Paul Jackson, Neil Murray and more... ...and not a click in sight! For anyone interested [url="http://www.jimmycopley.com/"]Samples[/url] [quote]Does anyone have any tips for what to listen for and actually keeping tight?[/quote] if you can't hear the hi-hat your stuffed. Steve

[quote]The reason many musicians practice with a metronome is that is a very stripped down time source.[/quote] [quote]Musicians of all styles have been working with metronomes for a long time - if it didn't work or stopped the music from flowing it would have died out.[/quote]The reason metronomes have been so popular is that until relatively recently there was no alternative. If you are playing or intend playing with a drummer, then a drum box would be far preferable and less boring. For a start, It makes practising a far more enjoyable experience - enjoyable's good, right? - and, It will give you a better idea of how you will sound in a "proper" situation. 5 minutes of, [b]Dock[/b] click click click [b]Dock[/b] click click click would make me want to put down my bass and go for a cuppa tea. Steve

[quote]SteveK are you sure about suggesting he play a minor 3rd scale (blues pentatonic) over a major 3rd chord (C7)?[/quote]Absolutely...try it. Not only will you sound like Eric Clapton, but you'll also sound like some [i]good[/i] Blues players (if they were bass players of course) [quote]Also, isn't the alternating half-whole-step scale the octatonic scale? With the true diminished being stacked minor 3rds?[/quote]What you describe (stacked minor thirds) would be a diminished seventh [i]arpeggio[/i]. The diminished [i]scale[/i] (whole/half steps) [i]can[/i] be called an octatonic scale, however, some pedants would argue that any 8 note scale could be called octatonic. Steve

Not forgetting The Blues scale, which is possibly the most versatile of scales: C Eb F Gb G Bb You can think of it as a minor pentatonic with a b5 added. This scale can be used over Major (especially Dominant 7) and Minor chords As the name implies this scale is used extensively in Blues. Try it over a 12 bar in C (C7 F7 G7) Steve BTW A Diminished scale is made up of alternate whole and half steps, ie. E Diminished = E F# G A Bb C C# D#

I'm afraid I'm going to have to disagree with most of the posts here: [quote]but if this will restrict my future progress on bass then i'd like to nip it in the bud ASAP.[/quote]It [i]will[/i] restrict your future progress. If you're serious about playing bass, then you should, as you say, "nip it in the bud". Gripping the neck with the thumb over the top [i]is[/i] bad technique. By gripping the neck you are severely restricting movement and the span of your fingers. [quote]I should be placing my thumb on the middle of the back of the neck- is this correct?[/quote]Yes, You may find that you have to have your bass slung a bit higher in order to achieve this comfortably. If you're [i]not[/i] so serious, and are happy playing roots and fifths, then, as you were Steve

You say that you've been playing bass "on and off for a year now". That really isn't very long, particularly if you've been more off than on You probably need to apply yourself a little more and set aside some serious practice time. I would avoid a metronome... [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click [b]dock[/b] click click click...... Imagine that for an hour at a time...it will drive you mad (think they use it as a form of torture in some countries) Little programmable drum machines are cheap enough these days and much more practice friendly. Set it to play a simple, slow 4/4 pattern and play 1 note (C for example) per beat (known as playing 4s) when you feel that you're comfortable with that, try increasing the tempo. When you've had enough of that, take the tempo right down and try playing 2 notes per beat (known as 8s) and again slowly upping the tempo when you feel comfortable When you rehearse with your band it is essential that you hear the drums, pay particular attention to the Hi-Hat and try to lock in. It will be difficult to start with, but if you apply yourself, you'll get there. Steve

[quote]I would say that if your guitarist is prone to that mistake, learn to transpose your lines! You make the whole band look sh*t by stopping a song once it's started. It doesn't matter who's fault it is, you all look as stupid as each other.[/quote] Disagree on that one. If the song is started in the wrong key, or if the tempo is way adrift, then why not stop and start again. Providing you can do it with a smile on your face, and you explain to your audience that you screwed it up and are gonna try it again...the audience will love you (even more) for it. In fact, only last week, we played in Hanau with The Hooters and Steve Lukather. During the soundcheck we decided to change the ending of a song (it needed a more elaborate ending to do the song justice). We played it a couple of times...no problem! During the gig we came to the end of that song... total disaster!!! There's Steve Lukather and his band; The Hooters, all at the side of the stage looking on...not to mention several thousand punters. After much hilarity on stage and the singer explaining to the audience that we need the practice, we played the ending again... the audience thought it was a riot FWIW It was the last gig on Lukes European tour, the hotel bar was certainly an experience...but that's a whole different story Steve

[quote]Aren't they made of plastic?[/quote]A [i]kind[/i] of plastic - more likely that tough polygubbins. [quote]What are the synthsa nd RIng Mods Like?[/quote]As I said, the synth section is very good - much better than the later ME-50B Don't know about the Ring Modulator, it's not an effect I use. Steve

I've used an ME-8B for several years. It's a great board. Unfortunately, it's getting a bit long in the tooth now and has moments of non-compliance Mostly use for chorus, delay, octaver, and occasional distortion with synth. The synth section is very good. It's possible to get a cracking "Birdland" intro synth sound. After unsuccessfully trawling the net searching for a replacement ME-8B I bought an ME-50B, but it really is nowhere near as good. If anyone knows where I can find a (good condition) ME-8B I'd be grateful, and willing to pay. Steve

The irony is, the larger the gigs you play - the less important your rig. If your playing small pubs and clubs, then it's fairly important to have a good rig behind you, as (obviously) that is where the bass will come from. On the other hand, if you're doing larger shows, where guitar/drums and bass are fed through the PA, then your rig becomes (as far as the punter is concerned) less important. I've seen Mike Porcaro on several occasions playing to thousands, with a rig that wouldn't hack it down "The Dog and Duck" - He would pretty much rely on onstage/in ear monitoring. I've seen Dominique Di Piazza, with the John McLaughlin Trio, [b]only[/b] using on stage monitoring...he just plugged into a DI and off he went. Steve

[quote]The only differences between the venues was that the first was carpeted and the second was on a wooden stage.[/quote]Even though they may look similar - every venue will be different. The wooden or carpeted stage [i]will[/i] make a difference, but there are so many other variables. [quote]I did notice that playing in the lower registers made my skull resonate.[/quote]Did that not give you a clue that perhaps you needed to make some adjustments? There are a couple of threads running that refer to getting "your sound". I wonder how many players sit in their bedroom getting "their sound", even marking their settings, only to get to a gig and find that "their sound" isn't so hot after all. You can't rely on your settings. [b]TRUST YOUR EARS[/b] Steve

In the mid 70s we were booked to play at a college in London (can't remember exact place). We'd just finished soundchecking when a couple of scruffy 'erberts told us that they were going to be playing as well... [b]and[/b] that they would be using our PA. Had to admire their front. Half a minute into their first song, and what was a reasonably full hall became pretty vacant... still, the spotty faced urchins carried on and completed a 30 or 40 minute set. In the ensuing few years anarchy reigned - musically speaking. There's no points for correctly guessing the name of this popular beat combo.

[quote]I can't find the youtube with the flying V now but I thought the one he was wearing for TOTP was a Gibson.[/quote] Possible that the one seen on TOTP wasn't his. It was quite normal to have gear hired in. Steve

I am assuming that we are all talking about using a fairly decent standard of equipment - in good working order. [b]*You will not get a 5 grand sound out of a £200 rig*[/b] [quote]are you saying that if you don't like your tone you're screwed?[/quote]Not at all, but if you don't have, at least, a basic understanding of how to use: Parametric and Graphic eq Pre amp and Master volumes Crossovers High/low pass eq etc. Then you stand little or no chance of getting "your tone" on another rig. [quote]and when people are saying there's nothing like a precision with a pick, its all in their head?[/quote]A Precision with a pick sounds like a Precision with a pick. [quote]musicman basses cut through the mix better?[/quote]I've heard plenty of non-Musicman basses "cut through the mix" just fine. [quote]and you're trying to say its pointless spending a grand on a custom bass when you can pick one up for £50 off ebay and get the same tone?[/quote]I refer the right honourable gentleman to the second line of my post. My last words on the subject: As I said in an earlier post... Basses/amps/cabs all have their own characteristics, often in our own heads these characteristics are all-important, the reality is, that usually - unless you're using an "extreme sound" - they're not as important as we imagine. Steve

[quote]I mean playing a precision strung with flats, and then playing my Sei strung with round wounds just won't sound then same, or am I missing something ?.[/quote] No, you're not missing anything. Of course different basses have different audio characteristics, as do amps and speaker cabs...[b]but that is only a small part of the picture.[/b] John Entwistle, throughout his time with The Who, was always chopping and changing gear: Fender, Gibson, Alembic, Warwick basses. Marshall, Sunn, Crown, Gallien-Krueger, Trace Elliot amps and cabs And for all that chopping and changing he always sounded like John Entwistle All I'm saying is... don't get too hung-up on hardware. It's your fingers that do the talking . Steve

In the mid-late 80s I joined a band that that worked mostly abroad. We didn't truck our backline. The contract would specify what gear was to be supplied, about 20% of the time we would get what we asked for, the rest of the time there would be whatever the promoter could get hold of (Eastern Bloc countries were always interesting). Providing the gear was of a known brand and reasonable power, and that I had a couple of minutes to tweak the knobs - the rigs made very little difference to the sound. Rocco Prestia on my rig would still sound like Rocco Prestia. Flea on my rig would still sound like Flea. JJ Burnel may have a problem though Steve

[b]Fingers[/b]

In 1991 I had the pleasure of meeting and working with The Beach Boys. We did a handful of shows - as special guests - around Europe along with the Allman Brothers. The highlight of their show (for me) was most definitely "God Only Knows" one of my all-time favourites. We also played with them again more recently, this time it was just Mike Love and Bruce Johnston and some younger guys, still a good show, but lacking some of the magic of '91. As far as I'm aware Carol Kaye played bass on the majority of Pet Sounds. Steve

[quote]Modern Reading text in 4/4 by Loius Belson. This is just Fantastic for Getting your reading chops together.[/quote] Very good book...in spite of the occasional 5/4 error/typo - bit like a dictionary showing the wrong spelling Steve

[quote]transcribing or learning, by ear, basslines of any sort is some of the best practice you can do to improve:[/quote] Indeed...and likewise, figuring out the dots in front of you is a great way of honing your reading skills. Steve

I've got a copy (notation) and a scanner that works If it's possible to send jpegs via PM and you want a copy, PM me. Steve EDIT: Can't figure out how to send attachments in PMs, any help appreciated.