dave_bass5
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Everything posted by dave_bass5
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That does seem to be a common solution and one im hoping to use, and i like the fact that it warms the bass up a bit as well. I have noticed that EQ makes a big difference. Over the past few nights ive been getting a much better level out of my G string, and it seems to be related to not backing the mids and treble off too much, and at the same time keeping the low end in check. Still not played with the band yet so i dont know how it will sound but im feeling positive.
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Not enough.
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[quote name='Pete Academy' post='791198' date='Mar 30 2010, 09:54 PM']You and Bill Wyman. Never did his career any harm. [/quote] I never realised that Bill played like that.
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Ive just been going over some scales and noticed i never, ever use my 3rd finger on the fretboard. I use my little finger, with my 3rd finger on top of it. Now im really going to have to put seem time in completely changing the way i play.
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[quote name='Major-Minor' post='790791' date='Mar 30 2010, 04:48 PM']But by learning a few one octave scales - major and minor (harmonic/melodic/natural), you will have the basic foundations to go on and learn about key structure / triads / harmonic movement / modulation / modes / extended chord building etc etc The Major[/quote] Thanks Major. I did have a look through part one and two before i started this thread but i was at work so it was just a glance. I will go back to them when i have the time. My comment about different scales for different music was probably not as clear as i thought it was but your comment above is sort of what im after. While im very loosely generalising, i find that certain styles of music tend to use certain chord progressions and scales. Reggae, blues, rock and roll spring to mind. To me these each have very distinctive styles of bass line. Again, thats a over generalisation. I know anything can be played but to me it seems certain progressions, or certain types of bass line help make the style of the song. what im looking for is a way of understanding whats going on in the different styles so i can improvise while keeping it authentic. I dont know the names of the different scales so cant use any as an example. Does this make sense? I know this wasn't what i first asked for but this is what i would like to work on. Thanks again. Ill definitely work through some of your studies.
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[quote name='molan' post='790753' date='Mar 30 2010, 04:15 PM']I once 'duetted' on bass with Pino, lol. I was trying out an amp at the Bass Centre in Wapping and, God knows why, I was playing the part from Wherever I Lay My Hat (Paul Young version). Next thing I knew I could hear someone soloing over the top of the stuff I was playing. First thought was that whoever it was had been 'showing off' a bit but his playing was seriously nice & sooo much better than mine. I stuck my head up over the wall of amps & cabs to see Pino sitting on the other side. We smiled at each other & nodded and I quickly ducked out of sight [/quote] I think thats one of Pino's proudest moments. He goes on and on and on about it down the pub ;-) I saw The Ox in the old BC once, and on another occasion Mark king. It was early days for my playing so i didnt dare pick anything up while they were there.
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Seeing as how im now not using this at all its up for sale. There are no issues with the bass. Its got XL's on it at the moment but it came with EB Slinkys which i still have. Heres what SBMM have to say about it. " Music Man's Stingray Bass has been a staple in the bass world for over 25 years. The classic combination of swamp ash, maple neck and Music Man™'s humbucking pickup and active 3 band preamp makes for a powerful bass that excels across all genres of music. Take a look around at any pro level music group and you will probably see a Stingray up there pounding out the groove. Our take on this classic icon is faithful to the original. We use light weight Swamp Ash bodies, maple necks with maple or rosewood fingerboards. The Music Man® designed humbucking pickup is paired with the Music Man® designed active 3 band preamp. Controls for bass, mid, treble and volume act the same as the USA made bass. The sound is the classic reliable tone you've come to expect from the Stingray®, cutting, present with a full round bottom end that anchors the music. * Swamp Ash Body * Maple neck * Rosewood Fingerboard (Maple fingerboard on BK and HB finishes) * 21 frets * 6 Bolt Music Man Designed Neck Joint * Music Man® Designed Humbucking Pickup * Music Man Designed 3 band Active Preamp * Music Man® Designed Bridge w/ Stainless Steel Saddles * 34" Scale * Open Gear Heavy Duty Tuners * Spoke Wheel Truss Rod Adjustment * Heavy Duty Gig Bag Included * Ernie Ball Bass Strings: .045, .065, .080, .100 * Nut Width: 43mm (1.69") * Natural, Black, Honeyburst " I got this a on 24th March for £569 and id like around £380 for it as it also now has a Nordstrand MM4.2 pup in it. I still have the original that ill throw in. I would prefer the buyer collected but willing to post to UK mainland at buyers expense. Not interested in any trades now as im sorted for a new bass. Cheers. EDIT: Pics added. I also want to point out that there is a line in the gloss finish just behind the nut at the G string. Thats how it arrived. No other scratches etc.There is a lot of reflection in these pics so the bass looks a bit grubby, its not. [attachment=48022:84259635...fdD_X3_3.jpg] [attachment=46430:Sun_04_A...010_8352.jpg] [attachment=46426:Sun_04_A...010_8360.jpg] [attachment=46428:Sun_04_A...010_8350.jpg] [attachment=46429:Sun_04_A...010_8357.jpg] -
When i was playing keyboards back in the 90's Spy Austin was our bass player. Bloody good he was.
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[quote name='Doddy' post='789763' date='Mar 29 2010, 06:57 PM']The only problem with 'riff' style books is that all you get out of it is how to play a certain riff. They very rarely help you with the theory or how to improvise. They may give you ideas or inspiration,but they won't 'teach' you all that much.[/quote] Yeah, it was just an idea. I do find certain scales are used more in certain types of music though, so my thinking is i might get the hang of using them for different types of music. In fact i wonder if there is a list or webpage that describes the different scales and in what music they are used. That might help.
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[quote name='Doddy' post='789697' date='Mar 29 2010, 06:04 PM']For learning theory I would necessarily look at bass specific books,as they often don't go far enough beyond the standard major/minor and pentatonics.[/quote] Thanks, i understand what you say and agree that i need to understand the baiscs. I do, sort of. I did O level music at school so i know how notes go together but its putting them in a interesting order i think is my problem. Ive seen a few books like Rock bass riff's, How to play Motown, stuff like that. While these are all pretty basic stuff i think i would have more results by getting an understanding how different styles of music are played. As i said in my first post, i might not be clear in my head what i want to get out of this at the moment so i could be talking rubbish. Certainly i want ideas how to play a bit more interesting so open to most ideas.
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Thanks Sarah. Lessons are option but most of my free time is late evenings so maybe not practical. Im hoping more for something i can just dip in and out of when i have the time.
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I seem to have got in to a rut, playing wise. While my theory has always been very lacking its not really been a problem. Im playing covers so i just learn the recorded bass parts. I can improvise a bit but ive never been into soloing. Now i need to open the door and start playing new stuff in new ways. And maybe the odd solo etc. I guess my playing standard is medium (to low lol), i know where all the notes are and can string thme in to the correct order, but its all sounding very basic. Im looking for a book that is bass related, so not just page after page of scales, not really for beginners but does cover the basic scales as well as improvising, etc. I guess its ideas im after. Maybe something based on different styles of music. Im not a great music reader, and i dont really want to spend too much time learning that side before i start learning the notes. But if i have to thats ok. Ive only just thought of all this so i might be asking for something thats staring me right in the face (like in the stickie's above) or contradicting myself. Cheers for any help.
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The only thing ive had stolen (so far) was a Alligator Head. My guitarist used to own a rehearsal studio and im pretty sure he used to hire my gear out (i was playing keyboards back then). We used to leave all the back line in the passage way. Anyway, i got to rehearsals on night and the amp was gone. I informed the police and did everything i could. luckily it was insured. A month or so later as i was browsing down Denmark st i saw the amp in one of the established shops. I checked it out and it was definitely mine. I told our guitarist and he told me not to mention it to the shop staff and he will try and sort it out. He sort of knows everyone (or likes to think he does) so i was ok with that. Next day i had it back. Now, im no the sort of person to accuse anyone of doing something dishonest but ive always wondered what he told them to get it back.......or how much he had to pay lol. Just after i left the band apparently a year or so later the van got nicked with all the PA and guitars on board, outside of the guitarists house. Hmmmmm.
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Smashing indeed. Funny enough my G string is perfectly in the centre of it's pole pieces. It does seem loud enough at the moment, in fact the low end sounds a bit weak compared to my sub but then the EQ is different so I expect that. I've always hated how the G string can stand out Sometimes too much on my other basses in the past, maybe I'm just not used to hearing it a bit lower.
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This might explain how the three EQ knobs work and interact with each other. [url="http://www.music-man.com/faq/music-man-basses/how-does-the-3-band-eq-function-on-your-basses.html"]EBMM FAQ[/url] I got a Ray34 a few days ago and am still coming to terms with it but i think its going to work out well. I can hear a difference between the 2 and 3 band EQ but i dont think its going to make too much difference at a gig. Im struggling a bit with the neck and action but i think its just a case of getting used to it all. Its just a bit wider and higher than im used to.
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[quote name='40hz' post='787136' date='Mar 26 2010, 04:19 PM']I find this thread quite interesting as my SBMM Ray 34 has no problem whatsoever on the G string. Its even and loud and full of life. Some people say that theirs are dead and others claim to have never experienced this problem. If it is a manufacturing (or design) defect i would imagine that every Stingray would suffer from it? Its quite puzzling either way. [/quote] What strings are you using? Its a wide spread complaint but i dont think its a manufacturing default. I think its a combination of EQ/strings/setup/playing style. I also dont notice it when im playing on my own. It seems to be a lack of freq's or clashing freq's thats the problem IMHO. And much more so at the bottom of the neck where the G is weaker. As ive said, my Sub's G string, around the 1st to the 7th fret definitely vanished at gigs, ive got the recordings to show this wasnt just my imagination. It was a lot better once i put some XL's on though. I did have something similar happen with my Duck Dunn when i first got it and again, changing the strings really helped. I must admit ive yet ot play my Ray34 through an amp and thats where it counts but ive been using Guitar rig for a few years so i know how things compare.
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[quote name='Jigster' post='787024' date='Mar 26 2010, 03:15 PM']you probably said it in this post already, but it's Friday and I'm lazy, where did you source the Nordy pup? got a weblink? I have mentioned this G problem about my MM before, kind of lived with it for a bit - and this week I put on EB flats and the G seems more present, BUT the Nordy might be an idea[/quote] Bass direct have them for £100 + postage. Thats probably where ill get mine from. I got a Nordy for my DJ5 last year from the USA and it ended up costing me £15 more than getting it from over here, mainly due to customs and being charged for PF to clear it.
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Yeah, i dont think pup height is going to do anything as ill be raising the D as well. I check the input levels to my PC last night and all seemed pretty even but this was open strings. If fretted the G just seems to lack substance, but not volume. I expect ill get a Nordy in at some point, it seems to be the common fix.
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Well ive just changed the strings but didn't adjust the pole pieces and it does sound a bit better I do think a lot of it is the strings and EQ. the .050 does seem to make a difference, then again i find XL's to be a bit more middy so that also probably helps. Ive not used a G this heavy before but happy to stick with it if it helps. One thing i noticed last night was when i played finger style the G sounded quite compressed and thin, but played with a pick it cut thorough a bit more. My first gig with it is not until the 17th April, if i still find it lacking ill attack the pole pieces. And if that doesn't work ill get a nordstrand put in. For now its fine, just playing through my PC at home.
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They seem to be building up now and i may have to destroy them. It would be a shame to just get rid of them so if anyone wants them come and get them. Pick up only (of course). Holborn, Central london
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[quote name='Old Horse Murphy' post='784946' date='Mar 24 2010, 06:07 PM'][url="http://www.soundslive.co.uk"]http://www.soundslive.co.uk[/url] is my personal fave. Fantastic service, good prices and a great supply of stock[/quote] Yep, just got my SBMM Ray34 from them. Cheapest i could find on line and it arrived in very quickly. Also another vote for stringsdirect. I get all my strings and bit form them and i always get them the following day. I used to really rate Thomanns but due to the exchange rate (i think) they are quite pricey now, although they off very good service. Probably the best i have had on line.
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Just reviving this thread as i just got a SBMM Ray34 and the G is just as weak as my Sub was (before adjustment). Ive got a heavier G string coming but im also going to knock the A and D pole pieces down as well.
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What are you listening to right now?
dave_bass5 replied to Sarah5string's topic in General Discussion
New Paul Weller Album. Some good tracks but i think he has had his day. -
Advice on hand held MP3/other recorder for band practices
dave_bass5 replied to Clarky's topic in Accessories and Misc
[quote name='Clarky' post='784632' date='Mar 24 2010, 01:08 PM']Thanks for the offer Dave, much appreciated If the H4 doesn't work out I may take you up on that[/quote] No problem. I dont need to use it until May 1st so just let me know. Im sure the H4 will work out though. I almost got one (or a H2), they offer a hell of a lot of features, much more than my Edirol. I think thats one reason i didn't go for a Zoom though. I much prefer the bigger brighter display, the one touch record/pause and the remote. Plus its smaller and more discrete. Its a lot simpler to use as well, which i like, especially at gigs when i sometimes dont have time to set things up properly. I just strap it to my singers mic stand and it seems to pick everything up with a nice stereo spread. -
Advice on hand held MP3/other recorder for band practices
dave_bass5 replied to Clarky's topic in Accessories and Misc
Its probably too late (and too expensive) but my vote goes to the Edirol R09-HR. Ive been using one for a couple of years now and cant fault it. Its recently had a firmware update that adds two types of tuner, a graphic EQ. Not sure i have any use for them though. It also has a speaker but to be honest its rubbish so i dont use it. what i like about it is its very simple to use, the display is nice, bright and big and it comes with a remote control. Clarky, your welcome to borrow it for a few weeks if you wanted to. EDIT: Sorry, i see your sorted. Good luck with the H4.
