Kongo

Fear Factory - Mechanize

[quote name='The Goatreich' post='670043' date='Nov 30 2009, 02:49 PM']I like the sound of the 321232123 route, but it's giving me a headache I'll stick it into my warm up routine and see if it clicks.[/quote] First practice on just one note to get your fingers relatively together on this, with a metronome set to VERY slow, playing 8ths @ 60-80bpm...remember this is a new thing to your muscle memory...it's not going to be easy. I got better at it by using it in a song, only a small part first but it forced me to need to play it for gigs etc...then you can place it into more parts if it sounds good / is easier to play that way...next thing you know, goodbye 2 fingers hello perma 3! Even rocking slow 8th notes with 3 fingers going 3 2 1 2 3 2 1 2 has a nice feel to it...and it never hurts to be thorough. Have a go.

[quote name='endorka' post='667955' date='Nov 28 2009, 02:55 AM']As others have pointed out, to do this you have to find a way of staying focussed on the goals you are trying to achieve. It can sometimes be difficult to develop this, but it does feed on itself; if you manage to do it for a short time, the benefits will likely be obvious to you, and something in your mind may "click" and it will become easier to keep up with your practicing, because you know the rewards are greater than noodling. You must set goals and stick to them, even if you don't feel like doing it; professional music in this regard can be just like any job, sometimes you just don't want to do something for whatever reason, but you have to, end of story. Another way to look on it is from a monetary perspective; the more you practice, the better the gigs you get, the more money you earn. Think of the ££££££ signs when your motivation is waning. If it truly is impossible to develop the discipline yourself, then I recommend getting a tutor you really respect, and have them set goals for you, in other words to impose the disciplined approach. The humiliation from not being able to play a piece you were expected to learn in front of someone you respect can also be a powerful incentive. Jennifer[/quote] I'll set myself on the books soon! I am sick of just practising scales to warm up then just going onto something in my head which is in itself noodling. I'll have a go...I REALLY wanna expand my slap technique as it's good but not good enough so I'll start on that book. I guess I'll drop in where I find challenging and not too easy and take it to the end from there, and regularly play along to the examples until I get them comfortable, not jus swing my way though them.

[quote name='The Goatreich' post='667494' date='Nov 27 2009, 03:49 PM']Yeah I've just started to train up my ring finger as I can't get up to speed using two. I'll check that link out, cheers [/quote] The way I go is different from Sheehan etc...they go 3,2,1,3 2,1,3,2 etc etc I go: 3,2,1,2 3,2,1,2 I can't do 16ths with 3 fingers in a line as it confuses me into playing triplets so I add my middle finger again to break it up. And also rock your hand from side to side, I do this so all fingers hit the same part of the string and so that when on the lowest string they all hit against my thumb or the "Invisible string" as it were. Have a go with that...it's proper tricky at first and well confusing!

All good answeres. I don't close my mind to anything either, I have LOADS of music on my iPod...so much I bought the 160GB version (Now discontinued) so I could fit them in and still have room for vids and pics etc. I got all sorts from 80's rock, the heaviest of Metal...but I also got Miles Davis in there too! Bitches Brew to be precise but I can't listen to it for long... A lot of Jazz seems hodge podge of notes with odd structures that jus make listening boring to me. I take everything on board, I'm a bassist with an extremely open mind, I just wish that, although I pick things up real quickly, there are some barriers that stop me playing whats in my head. I'm happy with what I've got, I was just looking for help to sit down and use these books. They contain knowledge that I must have...but I have difficulty going through them without getting side tracked.

All good answeres. I don't close my mind to anything either, I have LOADS of music on my iPod...so much I bought the 160GB version (Now discontinued) so I could fit them in and still have room for vids and pics etc. I got all sorts from 80's rock, the heaviest of Metal...but I also got Miles Davis in there too! Bitches Brew to be precise but I can't listen to it for long... A lot of Jazz seems hodge podge of notes with odd structures that jus make listening boring to me. I take everything on board, I'm a bassist with an extremely open mind, I just wish that, although I pick things up real quickly, there are some barriers that stop me playing whats in my head. I'm happy with what I've got, I was just looking for help to sit down and use these books. They contain knowledge that I must have...but I have difficulty going through them without getting side tracked.

I may have given some misgivings in the original post, of which I will clarify now 1) Not in college, passed all 3 years! Got distinctions in Music Theory (Grade A in GCSE), although a lot of it has taken a back seat it is still there, jus used more naturally rather than over thought. I am currently in my band, my love and my dream...and it's coming on so well! It may not be in bass guitars hottest genre but that's not to say it can't be...with an open mind one can do wonders! 2) I've got Wooten albums and even his book but I too feel his stuff is unusable...I just feel the double thump technique needs moving on...Everyone that uses it sounds like a Wooten clone...yet all that use fingers do not sound like a Jaco clone...odd eh? That's cause no ones bothered to put it into other uses...I have the know how in my brain...but my hands won't go to that extent just yet...Practice will! 3) I have a 4-string but my hands are far more comfortable on the broad neck of a 6-string...I may be a young adult but dodgy joints exist in my family and my hands are temperamental. They cramp up on a 4-string neck, which is why my 2nd bass was a 6-string...my hands feel good! HOWEVER I DO learn books for 4-string and I DO play as is so if I absolutely HAD to, I COULD play that piece on a 4-string. 4) I have a few books on J.S.Bach pieces and I love em! Just (not so) simple finger played melody lines...Sonata #1 in G Minor (Presto) is my favourite and I also love and take an interest of classical music (forgive me, Bach is Baroque). Please don't see me as a hot shot only technique bassist...I learn many techniques so my hands can keep up with my brain...a problem I have in many things which is why I cant write properly...I can't get the words down quick enough...no where nearly as quick as I type this! I LOVE music and my bass and everything in with it...6-string bass is great because you can make music with it better because chord voices are clearer...Wootens techs are just showey and lead nowhere but with the right mind can be reworked into something new, something guitar does faster than bass, it evolves. Music is in my head and also, these books but the technique used to do them...does mean you play 1 million notes it just means you hit that note or harmonic and you hit it well... But these books contain examples of chord uses and accents you could use and also teach musical approaches. Hope that clears things up a bit. And so...I leave you with this...an example of technique used in music, can't play this with theory alone and this is what I am trying to say: [quote name='XB26354' post='666609' date='Nov 26 2009, 07:18 PM']There are fabulous musicians out there that don't read music and don't know theory, but that is a different argument imho[/quote] You have no idea the amount of inspirations that are like that...I shall not say names lest it become misleading but there are LOADS!

[quote name='markdavid' post='665924' date='Nov 26 2009, 09:14 AM']I would be interested to hear peoples thoughts on how the finish of the wood affects tone , it seems a lot of basses seem to have a finish half an inch thick , surely this has an affect on tone, sustain etc . Edit: And if an unfinshed wood does sound better, how much of that is due to the fact that the manafacturer cannot get away with using shoddy wood like they could do with a painted finish ?[/quote] It definatly does. I often think finish when choosing a bass and yes, the cheaper woods that are covered in paint (mostly to hide the unmatched grain and glue joins) do too...They always sound denser to me and unfinished woods sound like the breathe more...The wood seems to vibrate more freely and unplugged sustain seems longer whereas finished basses seem opposite...not bad but it does affect tone I think. These finishes that allow wood to breathe? I dunno...I don't own one. I chop and change...once I went off finished and prefered natural wood...now I like finished cause some woods are great but too bright...If you wear dark colours on stage and wear a mostly maple bass like I do...well it certainly stands out but hey, never mind. But I'm not too keen on paint...I think stain finishes are nice...one thing Warwick's speak to me with, I don't own one but I love how they foucs on stain finished more than paint, that you can get both most are stained....at least from what I've seen. I'd love to stain my Ibanez BTB556MP but as 2 wood colours show...what would you stain it as?

[quote name='The Goatreich' post='666699' date='Nov 26 2009, 08:36 PM']What an unbelievable bass player Alex Webster is as far as extreme metal goes. So solid and fast as hell with finger picking. I would love to be able to drop the pick and play like him.[/quote] Then do it! I've always been a finger player but it's he and Sheehan that got me into advanced finger picking. You will never learn until you start...so do so! As well as canibal corpse listen to "Blotted Science" his instrumental band...here's an example...this song got me to buy the album actually! HEAVY as hell!!! Listen further in for a few of his licks and breaks!

Not blown up but sound checks at my local are a gag and a half...My new Trace Elliot rig trips the electricity off! Nothing wrong with my amp, works fine at home, at rehearsal, in recording studio's...just the stage at The Shed in Leicester...I spose plugging it into a 4 gang that comes off of a 4 gang that ALSO is plugged into a 4 gang MAY have something to do with it...Jury rigging...LOL! I find that I get better results by turning the lights on the front panel OFF, then turning it on, then dialing the lights in... It IS annoying though and should someone want to borrow it (If they bringing the drums and can't fit the bass rig in), the amp always gets the blame...It's brand new and does this nowhere else LOL!

Sorry but this is just too funny...How would they even get wind of Gibson using illegal wood? A copper bought an SG and though...hey! This wood looks like it hasn't been paid for... LOL!!! Someone has TOO much spare time! But it IS a funny story...seized guitars to check for smuggled wood...HOW WOULD YOU KNOW!? LOOOOOOOOOOOOOOL!

I have, over the years, bought LOADS of tuition books...anything that took my fancy starting with my 6-string bass book, when I bought one, my 2nd bass that was but mostly slap, 2 handed tapping and chordal approaches thereafter...now I have read through them and took some bits here and there...but how do you go about learning them cover to cover? I've got an AMAZING book called: "Ultimate slap bass : By Stuart Clayton" It's AWESOME! It starts off with the very basics and by the end (I listened to the CD too) it really DOES get you to (apologies for sounding boring, I don't use his name much) Wooten style speed and fluidity of using double thumping and triple pops like Stu Hamm...So, if one was to use this book from cover to cover in time you could, at least playing what is in the book, get pretty hot at slapping and, taking what you have learned, explore and build your own take on it...which is something that interests me. Thing is...I can't do it! I sit and I play an example...then I hear something and WHOOSH! Off I go, for hours practsing a line I jus heard in my head...and yep, got no further in the book....Day 2...same thing happens again...How do you approach these books with an order of discipline? In my 3 years of college bass tutors would set out a set route and take it...how can I do this and not stray? To note, I also have intermediate slap technique so...how far in this book should I start? I can skip the basics but where is best to drop in where I won't get bored? Then I shall apply this to all books and learn new things every day...I'm not so keen on learning songs any more cause I can't find any, other than Primus etc that really grip me...so books are a nice alternative. And please, feel free to recommend me some. Jus no...Jazz theory please! I don't enjoy that AT ALL! lol!

Am I perhaps a rare breed that still likes Alder? O jus think it has a nice all round tone to it...I know it's a boring wood in todays terms but so far I don't like these exotic woods...Or maybe it's the pickup combination with them maybe that's wrong? I really must try some Warwicks as they use exotic woods with good electronics...Some companies, like Ibanez which I do like BTW, have gone exotic woods and now give you cheap electronics instead...still, makes them VERY mod friendly I guess...Better to have good wood first. So, I need a 2nd 6-string to accompany my BTB556MP as I'm coming back to 6-string full time...should something go wrong a 5-string isn't a good backup...and my first 6-string is being de-fretted (A Peavey Grind...seems EVERYONE defrets these). I was looking at the new BTB676: [url="http://www.ibanez.co.jp/world/country/frame_uk.html"]http://www.ibanez.co.jp/world/country/frame_uk.html[/url] A thru-neck, just like my Grind back in the day, I like the feel of not having a neck join...the pickups, is it just my eyes or are they thinner than the Bart MK2's on my BTB556? They are right? The wood, walnut and light ash...that's a nice combo! I got basses made of walnut and one of ash...Jazz basses...Nice tone wood IMO...are they good combined? Either way, for now whilst money is tight (As my band is picking up rapidly I have gone part time to spend more time with it) it's a good 2nd, if not 1st 6-string bass...And for £600 and think that's good...not many others, if any, can compare in that price bracket. The pups may be equally crap but it's the wood I care about...If only it was made of Alder....LOOOOOOOOOOOOOOOOOOOOOOOOL!!! I have literally just noticed though that they don't use the vari mid any more...Hmm and it's been replaced by the Bartolini MK2 3-band...I have heard BAD things about these...But again, can't be that bad and if the woods good, the electronics are EASY to upgrade!

[quote name='agoulding' post='664579' date='Nov 25 2009, 12:31 AM']I used to play in a VERY heavy death metal band with the same bass. I had no problem with the sound, infact i thought it was great. I then started using the Ibanez SRX300 which is very similar to the rbx, just a thinner neck and a higher output. I changed because i didnt like the feel of the yamaha, it simply didnt play fast enough. I think Ibanez would be the best way to go next, SRX or SR both are great fo that type of thing. Im back to yamaha now though, an older BB and TRB. I play in a stoner/doom band using drop c, and i use fairly heavy strings (55-110) and they make a huge difference. Just try a few things out.[/quote] I'm thinking of moving back to Yamaha and also fancy a TRB 6-string...They are very nice and Yamaha always did me well before Ibanez...both companies offer very well built instruments but now Ibanez seems to be going with exotic woods on the BTB series and lack in the electronics section, giving weak output... On the note of Dark Lord strings...Rotosound also do their "Drop Zone+" which offers a low F# of .175.

[quote name='LawrenceH' post='663348' date='Nov 24 2009, 12:10 AM']If you were near Edinburgh I'd say come over and try my pickups in your bass. As it is, why not ask your friend with the Nordies if he'd mind doing a little experiment? Or anyone else you know with pickups that'd drop in. You don't even have to screw them down to get a rough idea of what they sound like. Based on my own experience I'd say it will definitely improve things swapping out the Korean Barts, and if the bass sounds good acoustically that's gotta be a good sign. Be interested to hear what you decide and how it goes.[/quote] Not a friend, more a bass acquaintance and I would but he's native to Ireland...a bit far lol! Yeah I spose I could try switching out but what for? I REALLY love MM pups but that'd take some work...and then getting ones to suit 17mm spacing...Well...So it looks like it's soap bars again...Hmmm but so many companies to look into. I jus want something that has some good gain to it...weak pickups dont work for me...for some delicate Jazz nuances and such maybe but not for my play style...Maybe the preamp wont be so bad when it's not trying to colour an already bad tone...well not bad just flat and overall...Flat...LOL! Can't do it for a while yet but yes I do love the play and feel of the bass so we'll see...in the new year I may switch out the pups...