dlloyd

[quote name='ped' post='486621' date='May 13 2009, 08:57 AM']I used a rather over engineered solution called the 'bassmute' - I can't get a link because the work computer blocks anything remotely useful. It was a sort of rocker switch which engaged individual foam mutes on each string which were independently adjustable. It was a really useful bit of kit, I would have one on my main bass if there was any room behind the bridge pickup! Cheers ped[/quote] [url="http://www.bassmute.com/bassmute/bm_mainframe.html"]http://www.bassmute.com/bassmute/bm_mainframe.html[/url]

[quote name='thisnameistaken' post='486544' date='May 13 2009, 01:01 AM']My fretless Stingray's got holders for them, but the mutes must've been removed by a previous owner. I've been thinking about finding some and adding them.[/quote] Assuming it's the rubber mutes that are missing rather than the mute mechanism (which they stopped installing in the factory before the bridge was redesigned... sharp parts and all that), mouse mats are your answer. You have to trim them to size, mind you...

[quote name='beardybass' post='486680' date='May 13 2009, 10:00 AM']Areet, time for my two pence worth, there's a finger exercise off a Jaco dvd that I found immensely helpful with the kind of thing you were talking about (flailing fingers etc.) which, if you aren't already aware of it, I would be happy to write it down and send it to you. Again, it's not mine, it's Jaco's, but it helped me absolutely no-end, still does. Let me know if you want it.[/quote] Is that this one? [url="http://www.youtube.com/watch?v=fgK5VygLxbc&feature=PlayList&p=3B99A426A70E2492&playnext=1&playnext_from=PL&index=96"]http://www.youtube.com/watch?v=fgK5VygLxbc...PL&index=96[/url]

[quote name='urb' post='485924' date='May 12 2009, 01:58 PM']+1 There's loads and loads of great advice here - I'll simply add that I found both Band In A Box and the Jamey Abersold playalongs really useful as one of the hardest things with getting into jazz is the constantly cycling changes - a tune like Solar, or Scrapple The Apple, played at a fast tempo is very hard to maintain a constant, driving bass line for over ten minutes. The good thing with BIAB is once you have programmed in the song/chord changes you can vary the tempo - so you can start slow and then get steadily faster - it's a great way to shed certain difficult sets of changes - you can stretch out and practice either basslines, solos or the melody. The Abersold ones are good too for giving you an authentic sounding backing track - but the tempos are fixed, so getting into stuff like Donna Lee etc (if you are just starting out) might seem a bit daunting. The other small nugget I'll add is try and think ahead the whole time - always anticipate the next chord and keep your lines simple - let the soloists do all the fancy stuff! [b]Hope that helps - the [url="http://www.jazzwise.com/catalog/product_info.php?products_id=753"]Charlie Parker playalong[/url] is really good [/b][/quote] +1 [b]The Funk:[/b] The Aebersold volume is the one I [i]mentioned[/i] in my PM. One thing I've done in the past is to record the tracks onto Audacity and play about with them from there in order to slow them down to sensible tempos.

[quote name='maxrossell' post='485792' date='May 12 2009, 11:59 AM']To be honest, today is the first time I've come across ABC and it already makes far more sense to me than this sort of thing: Even though I've been looking at standard notation since I was a little kid. It's just a code, exactly like standard notation, except it's made of of symbols that most people recognise, instead of little dots with tails on them and smaller dots all on a bunch of lines and stuff.[/quote] The advantage that the standard notation above has is that it's ultimately easier to read, even if that might not be obvious to a beginner. While this... X: 1 T:Paddy O'Rafferty (1) R:Jig S:Unknown fiddle player (James Cullinane?) D:Clare FM broadcast. From the Miltown Malbay fiddle recital. Z:Bernie Stocks M:6/8 L:1/8 K:G G3 AGE|BAB AGE|~G3 AGE|GAB GED|! GFG AGE|GAB cde|dBG AGE|GAB GED||! BGG AGG|BGG AGE|BGG AGE|GAB GED|! BAB ~c3|~d3 g3|dBG AGE|GAB GED||! dge dBG|ABA ABc|dge dBG|dgf g2a|! bag agf|gfe dcB|~c3 ~B3|AGE GED||! G2d BGd|BGd AFD|G2d BGd|AFd AFD|! G2d BGd|BGd ABc|BAG AGE|GAE GED||! EFD EFD|ABA BGE|EFD EFD|GAG GED|! EFD EFD|A3 AB^c|BAG AGE|GEA GED||! ...is fairly easy to understand and apply, it would take some work. The standard notation above (that you posted) is much easier, and is pretty easy to sight read. Add any level of rhythmic variation onto the ABC system and you'll be swamped very quickly. That's probably why it appeals to players in styles that are rhythmically simpler.

[quote name='AM1' post='485787' date='May 12 2009, 11:54 AM']Just out of idle curiousity, apart from damping whilst using floating thumb, what's the real advantage of it over using the anchor thumb technique? Is just just economy of motion?[/quote] Read the article: [url="http://www.adamnitti.com/bass_player_02.shtml"]http://www.adamnitti.com/bass_player_02.shtml[/url]

[quote name='EBS_freak' post='485766' date='May 12 2009, 11:35 AM']I'm a bit behind the times here but I see that Bill Leigh is no longer editor at Bass Player Magazine. It seems there is all change at the top of both the US and UK bass comics. Shame to see Bill go (it seems unclear whether he left of was pushed...?) but in steps Jon Herrera with promises of change. Hmm. More advertisements maybe?! And seriously, the magazine just jumped the shark with that power cable review...[/quote] That was the final straw for me. I won't buy it again.

Other files in that list seem to convert okay into standard notation. There must be an error in the coding for the 007 one.

X:1 T:007 (from "From Russia With Love") C:John Barry Z:Hoho windfola server M:4/4 L:1/8 Q:100 =1/4 K:C C,3 C,3 C,2 | C,3 D,3 G,2 | C,3 C,3 C,2 | C,3 D,3 G,2 | C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 | C, ^F/5E4/5 ^F/5E3/5 D,/5G3/2 =F/2 E/2 _E3/10 G,/5D z | C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 | C, ^F/5E4/5 ^F/5E3/5 D,/5G3/2 =F/2 E/2 _E3/10 G,/5D G,4/5 | %s C,/5C E/5G4/5 E/5G4/5 C, E/5G4/5 E/5G4/5 C, E/5G4/5 | C, E/5G4/5 E/5G3/5 D,/5C D/5B,8/5 G,/5A/5F/5B,7/5 | C,/5G E/5C4/5 E/5C4/5 C, c/5E/5C3/5 E/5C4/5 C, E/5C4/5 | C, E/5C4/5 E/5C3/5 D,/5c B/5F/5D7/5 G,/5G/5F/5B,7/5 | C,/5A E/5C4/5 E/5C4/5 C, E/5C4/5 E/5C4/5 C, E/5C4/5 | C, E/5C4/5 E/5C3/5 D,/5A G/5F/5B,7/5 G,/5C/5A,/5F7/5 | C,/5E C/5G,4/5 C/5G,4/5 C, C/5G,4/5 C/5G,4/5 C, C/5G,4/5 | C, C/5G,4/5 C/5G,4/5 D,2 C/5A,/5F,3/5 G, B, | C,/5C E/5G4/5 E/5G4/5 C, E/5G4/5 E/5G4/5 C, E/5G4/5 | C, E/5G4/5 E/5G3/5 D,/5C D/5B,8/5 G,/5A/5F/5B,7/5 | C,/5G E/5C4/5 E/5C4/5 C, c/5E/5C3/5 E/5C4/5 C, E/5C4/5 | C, E/5C4/5 E/5C3/5 D,/5c d/5B/5F7/5 G,/5G/5F/5B,7/5 | C,/5e c/5G/5E3/5 c/5G/5E3/5 C, c/5G/5E3/5 c/5G/5E3/5 C, c/5G/5E3/5 | C, c/5G/5E3/5 c/5G/5E2/5 D,/5e f/5c/5A7/5 G,/5d/5B/5F7/5 | C,/5g e/5c/5G3/5 e/5c/5G3/5 C, e/5c/5G3/5 e/5c/5G3/5 C, e/5c/5G3/5 | C, e/5c/5G3/5 e/5c/5G3/5 D,2 c/5A/5F3/5 G, B/5F/5D3/5 | C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 | C, ^F/5E4/5 ^F/5E3/5 D,/5G3/2 =F/2 E/2 _E3/10 G,/5D z | C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 | C, ^F/5E4/5 ^F/5E3/5 D,/5G3/2 =F/2 E/2 _E3/10 G,/5D z | C, ^F,/5E,4/5 ^F,/5E,4/5 C, ^F,/5E,4/5 ^F,/5E,4/5 C, ^F,/5E,4/5 | C, ^F,/5E,4/5 ^F,/5E,3/5 D,/5G,3/2 =F,/2 E,/2 _E,3/10 G,/5D, z | C, ^F,/5E,4/5 ^F,/5E,4/5 C, ^F,/5E,4/5 ^F,/5E,4/5 C, ^F,/5E,4/5 | C, ^F,/5E,4/5 ^F,/5E,3/5 D,/5G,3/2 =F,/2 E,/2 _E,3/10 G,/5D, G,4/5 | C,/5C E/5G4/5 E/5G4/5 C, E/5G4/5 E/5G4/5 C, E/5G4/5 | C, E/5G4/5 E/5G3/5 D,/5C D/5B,8/5 G,/5A/5F/5B,7/5 | C,/5G E/5C4/5 E/5C4/5 C, c/5E/5C3/5 E/5C4/5 C, E/5C4/5 | C, E/5C4/5 E/5C3/5 D,/5c B/5F/5D7/5 G,/5G/5F/5B,7/5 | C,/5A E/5C4/5 E/5C4/5 C, E/5C4/5 E/5C4/5 C, E/5C4/5 | C, E/5C4/5 E/5C3/5 D,/5A G/5F/5B,7/5 G,/5C/5A,/5F7/5 | C,/5E C/5G,4/5 C/5G,4/5 C, C/5G,4/5 C/5G,4/5 C, C/5G,4/5 | C, C/5G,4/5 C/5G,4/5 D,2 C/5A,/5F,3/5 G, B, | C,/5C E/5G4/5 E/5G4/5 C, E/5G4/5 E/5G4/5 C, E/5G4/5 | C, E/5G4/5 E/5G3/5 D,/5C D/5B,8/5 G,/5A/5F/5B,7/5 | C,/5G E/5C4/5 E/5C4/5 C, c/5E/5C3/5 E/5C4/5 C, E/5C4/5 | C, E/5C4/5 E/5C3/5 D,/5c d/5B/5F7/5 G,/5G/5F/5B,7/5 | C,/5e c/5G/5E3/5 c/5G/5E3/5 C, c/5G/5E3/5 c/5G/5E3/5 C, c/5G/5E3/5 | C, c/5G/5E3/5 c/5G/5E2/5 D,/5e f/5c/5A7/5 G,/5d/5B/5F7/5 | C,/5g e/5c/5G3/5 e/5c/5G3/5 C, e/5c/5G3/5 e/5c/5G3/5 C, e/5c/5G3/5 | C, e/5c/5G3/5 e/5c/5G3/5 D,2 c/5A/5F3/5 G, B/5F/5D3/5 | C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 | C, ^F/5E4/5 ^F/5E3/5 D,/5G3/2 =F/2 E/2 _E3/10 G,/5D z | C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 | C, ^F/5E4/5 ^F/5E3/5 D,/5G3/2 =F/2 E/2 _E3/10 G,/5D G,4/5 | C,/5C ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 | C, ^F/5E4/5 ^F/5E4/5 D, G/2 =F/2 E/2 _E3/10 G,/5D z | C,/5^F E/5C4/5 E/5C4/5 C, E/5C4/5 E/5C4/5 C, E/5C4/5 | C, ^F/5E4/5 ^F/5E3/5 D,/5G3/2 =F/2 E/2 _E3/10 G,/5D G,4/5 | C,/5C ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 | C, ^F/5E4/5 ^F/5E4/5 D, G/2 =F/2 E/2 _E3/10 G,/5D z | C,/5^F E/5C4/5 E/5C4/5 C, E/5C4/5 E/5C4/5 C, E/5C4/5 | C, ^F/5E4/5 ^F/5E3/5 D,/5G3/2 =F/2 E/2 _E3/10 G,/5D G,4/5 | C,/5C ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 | C, ^F/5E4/5 ^F/5E4/5 D, G/2 =F/2 E/2 _E3/10 G,/5D z | C,/5^F E/5C4/5 E/5C4/5 C, E/5C4/5 E/5C4/5 C, E/5C4/5 | C, ^F/5E4/5 ^F/5E3/5 D,/5G3/2 =F/2 E/2 _E3/10 G,/5D G,4/5 | %to s C,/5C E/5G4/5 E/5G4/5 C, E/5G4/5 E/5G4/5 C, E/5G4/5 | C, E/5G4/5 E/5G3/5 D,/5C D/5B,8/5 G,/5A/5F/5B,7/5 | C,/5G E/5C4/5 E/5C4/5 C, c/5E/5C3/5 E/5C4/5 C, E/5C4/5 | C, E/5C4/5 E/5C3/5 D,/5c B/5F/5D7/5 G,/5G/5F/5B,7/5 | C,/5A E/5C4/5 E/5C4/5 C, E/5C4/5 E/5C4/5 C, E/5C4/5 | C, E/5C4/5 E/5C3/5 D,/5A G/5F/5B,7/5 G,/5C/5A,/5F7/5 | C,/5E C/5G,4/5 C/5G,4/5 C, C/5G,4/5 C/5G,4/5 C, C/5G,4/5 | C, C/5G,4/5 C/5G,4/5 D,2 C/5A,/5F,3/5 G, B, | C,/5C E/5G4/5 E/5G4/5 C, E/5G4/5 E/5G4/5 C, E/5G4/5 | C, E/5G4/5 E/5G3/5 D,/5C D/5B,8/5 G,/5A/5F/5B,7/5 | C,/5G E/5C4/5 E/5C4/5 C, c/5E/5C3/5 E/5C4/5 C, E/5C4/5 | C, E/5C4/5 E/5C3/5 D,/5c d/5B/5F7/5 G,/5G/5F/5B,7/5 | C,/5e c/5G/5E3/5 c/5G/5E3/5 C, c/5G/5E3/5 c/5G/5E3/5 C, c/5G/5E3/5 | C, c/5G/5E3/5 c/5G/5E2/5 D,/5e f/5c/5A7/5 G,/5d/5B/5F7/5 | C,/5g e/5c/5G3/5 e/5c/5G3/5 C, e/5c/5G3/5 e/5c/5G3/5 C, e/5c/5G3/5 | C, e/5c/5G3/5 e/5c/5G3/5 D,2 c/5A/5F3/5 G, B/5F/5D3/5 | C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 | C, ^F/5E4/5 ^F/5E3/5 D,/5G3/2 =F/2 E/2 _E3/10 G,/5D z | C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 ^F/5E4/5 C, ^F/5E4/5 | C, ^F/5E4/5 ^F/5E3/5 D,/5G3/2 =F/2 E/2 _E3/10 G,/5D z4/5 | %coda C,/5^F/5E/5C3/5 ^F ^F4/5 C,/5^F/5E/5C3/5 ^F ^F4/5 C,/5^F/5E/5C3/5 ^F4/5 | C,/5^f/5e/5c3/5 ^f ^f4/5 C,/5^f/5e/5c3/5 ^f ^f4/5 C,/5^f/5e/5c3/5 ^f4/5 | B,/5^f/5^d/5B/5^F7/5 z6 |

[quote name='thepurpleblob' post='485537' date='May 12 2009, 07:10 AM']So where's the file with the music in it? I'm missing the point here I take it? [/quote] It's there when I click on 'get'. I wouldn't necessarily want to use it in that state though... I'd rather it converted properly to standard notation.

[quote name='AM1' post='485686' date='May 12 2009, 10:22 AM']OK - I understand. But when I slow down, I hear that ringing..but I just don't know exactly what damping methods to use to kill it. That's the fundamental part of the problem.[/quote] If you're playing on the lower strings (eg. on the E string), your fretting hand will mute the higher strings and prevent sympathetic resonance. If you're playing on the higher strings, a floating anchor (or rather a moving anchor) will mute the lower strings. Adam Nitti's lessons from bass player magazine are all you need to sort out your muting: [url="http://www.adamnitti.com/bass_player_02.shtml"]http://www.adamnitti.com/bass_player_02.shtml[/url] [url="http://www.adamnitti.com/bass_player_03.shtml"]http://www.adamnitti.com/bass_player_03.shtml[/url]

[quote name='thepurpleblob' post='485368' date='May 11 2009, 09:57 PM']The ABC system? That's a new one on me... plus I looked at that site and have no idea what's going on. Loads of weird files with odd stuff in. What am I supposed to do with... X: 1 T:007 (from "From Russia With Love") C:John Barry Z:Hoho windfola server M:4/4 L:1/8 Q:100 =1/4 K:C[/quote] Tells you in the wikipedia article (mostly): X: 1 [b](One tune in file)[/b] T:007 (from "From Russia With Love") [b](Tune:[...])[/b] C:John Barry [b](Composer:[...])[/b] Z:Hoho windfola server M:4/4 [b](Time signature:)[/b] L:1/8 [b](Default note length)[/b] Q:100 =1/4 [b]Tempo = Quarter note = 100 bpm[/b] K:C [b](Key of C)[/b] That file in particular doesn't seem to want to cooperate with the conversion software.

[quote name='urb' post='484672' date='May 10 2009, 10:13 PM']Same here but having ordered my Sei Jazz bass last september, after the price rise, and I still paid just £400 deposit. At one stage I offered to pay off the rest as I have the money but Martin said he'd rather wait till the bass is finished, which should be in about a month. If you want my advice... GO FOR IT! They are amazing basses and the build time and price are all worth it. Hope that helps Mike[/quote] That's great news Mike (and Big Red X) I'm thinking of getting a fairly basic jazz 4 with a few inexpensive tweaks, so it shouldn't be more than a £400 deposit (in theory!)

Great post, Mike. My original post (in the ears vs reading thread) was deliberately provocative but I'm genuinely surprised it sparked as much debate as it did. I'll check out the bands you've recommended...

Matt black.

I've wanted one for 18 years... maybe I should bite the bullet? How does it work in terms of payment? (To clarify... I'd like to order one, but I'm concerned about the idea of handing over £2000 + for an instrument I wouldn't see until 2010...)

[quote name='AM1' post='483910' date='May 9 2009, 06:36 PM']Just taking a break from the bass before my hand falls off (I know, it's Saturday night and I'm a freak) - anyway just wondered, who is self teaching and who has lessons and who has tried both?? Any preferences? Do you think that if you have regular lessons, the tutor's musical personality will become apparent in your playing? Or is it better to just develop your own style?[/quote] You would be better off with a teacher. No, you won't end up sounding like them.

[quote name='Kongo' post='483680' date='May 9 2009, 01:30 PM']+1 like Squier.[/quote] Not as such... Fender own Squier. [quote]Although blank headstocks are also Fender shape...why doesn't this break patent laws?[/quote] Because Fender didn't actively pursue copyright infringement when they should have.

[quote name='bumfrog' post='482754' date='May 8 2009, 10:13 AM']Even musicman are doing it now with the new sterling range looking the same as the us ones.[/quote] Musicman have 'always' done that with their budget ranges. The Japanese EX series (if you can find one) and SUBs both had fairly standard logos. OLP was the property of a different company that paid a licence fee for the headstock shape.

How about one of these...

[quote name='Buzz' post='483115' date='May 8 2009, 05:01 PM']What's that 5 knob jobbie lurking near the back?[/quote] 3 EQ plus piezo.

Here's a fairly large collection of tunes scored using the abc system... [url="http://trillian.mit.edu/~jc/cgi/abc/tunefind?P=Mr%20&%20Mrs%20Don%20Machen&m=title&W=wide&limit=1000&thresh=5"]http://trillian.mit.edu/~jc/cgi/abc/tunefi...00&thresh=5[/url] (I've had that for quite a while without really knowing what it was!)

[quote name='EBS_freak' post='482954' date='May 8 2009, 02:21 PM']I am still no entirely sold on the Fodera thing... they are good, granted... but I don't see why they have the mystique that they have come to have...[/quote] Because they make you play better. Obvious really. Victor Wooten sounds better than me. He's got a Fodera, I don't... Must be the bass...

Now [i]that[/i] is interesting!

[quote name='jakesbass' post='478118' date='May 3 2009, 10:55 AM']dlloyd (memeber here) is a DB player in your area.[/quote] Thanks Jake... I'm a little outside of the area though, (Glasgow's a two hour drive for me) and couldn't commit to regular rehearsals etc.