Marvin

Thanks Clarky. I stuck my ear to the back of the bass last night and it could be emanating from the pick-up springs, I lowered the bridge pick-up recently and I suppose it may be a case that it's buzzing sympathetically. I don't think it's the bridge but I couldn't say for sure. I was worried it might be the truss rod but I'm probably getting into one of my nervous flaps.

I noticed last night, after unplugging my bass and playing acoustically, that when I pluck the strings I'm getting a, albeit [u]very[/u] quite, buzz. I put my ear to the body of my bass and it sounds like the strings are making something resonate, but I can't work out what. It does it on open and fretted notes and definitely isn't fret buzz. It doesn't seem to be getting picked up when playing through an amp.

[quote name='Doddy' post='901436' date='Jul 21 2010, 11:02 PM']Not a fan then? You may not like Caron's music,but for my money he has possibly the best slap technique anywhere.[/quote] If I remember rightly, which is rare, I think silddx referred to the thought of listening to Mr Caron's music made his penis shrivel. So probably not a fan.

Hmmm, well I spent this evening putting in some practice, not all slap, and it sort comes in fits and bursts - sort of 4 notes followed by pregnant pause then f@ck up. I say 4 notes, but 2 are dead, bit like me, in fact most of the time all the 'notes' I think I deadened them. Sure is going to take some practice.

[quote name='oldslapper' post='901197' date='Jul 21 2010, 07:24 PM']Marvin, you could also look at Alexis Sclarevski and Stu Hamm Slap bass DVD's (probably on you tube), if you want to just check out some (IMHO) of the 2 best instructional videos. There's no substitute for 1:1 with your tutor of course, but to supplement dipping your toe in the slap bass pond (often murky) you could do worse. John[/quote] Supplementing, between lessons would do no harm. As long as I remember not to get too distracted, as I can do. Cheers.

[quote name='Stingray5' post='901174' date='Jul 21 2010, 07:01 PM']Marvin, there are also 19 pages (and counting...) in the Funk and Groove thread with many examples of some fine slappy stuff. [url="http://basschat.co.uk/index.php?showtopic=70165"]http://basschat.co.uk/index.php?showtopic=70165[/url][/quote] Ah, yes of course, I'll check it out as soon as I've come out of the dunces corner. Thanks

Excuse me as I go and sit in the corner for being stupid. I've been around the forum for long enough to know who slaps, their names are regular features, dear o dear. Thanks for the names and the you tube link.

Mark King and Flea aside, I don't really know any slappers. I had a lesson last night and my teacher, to break the lesson up, introduced a bit of slap as I said I'd never tried. Although I didn't do very well it's something I'll keep having a go at as I quite enjoyed it. So who are the well known slappers, just so I can listen and watch maybe.

[quote name='EssentialTension' post='900289' date='Jul 20 2010, 05:36 PM']I might be tempted to play it like this using index finger only [font="Courier New"] |------------------------2-------------- |----------------------2---2------------ |---------------0--2-------------------- |---------------------------------------- [/font] It would depend partly on where I was coming from and going to.[/quote] Like the thinking there, and is probably what I would do to avoid finger knitting. But as you say, depends on where you come from and where you are going. And then of course you'll get the variance in tone argument.

My action is probably quite high. However, I borrowed a bass last year and the action was so high the previous owner must have been William Tell and he used it to take pot shots at apples. It was near impossible to play.

[quote name='thisnameistaken' post='899552' date='Jul 19 2010, 10:53 PM']Maybe one of the mods is currently going through gender reassignment surgery and it was a bit too close to the bone. No pun intended.[/quote] Sniggers some more.

[quote name='Clarky' post='899505' date='Jul 19 2010, 10:23 PM']Perfectly harmless, valid discussion point and no antagonism. Looks strange that it was closed???[/quote] I thought it odd as well. Did someones finger inadvertently slip causing a mistaken deletion?

[quote name='bubinga5' post='899410' date='Jul 19 2010, 08:58 PM']...when you say myth do you mean the one about Marvin pulling him out of a bar a he was pie eyed?[/quote] I did no such thing! I recently bought a Motown comp and his lines and playing are just it. I always thought he was up there, but when you listen he just takes the music somewhere else. Just for an ounce of his talent I'd.....well I don't know really but I would. I also liked Babbit as well.

In a similar vein, one standard tuning the other drop tuned. It's looks unprofessional to change tuning during a set.

Should I cancel the lesson I've just arranged for Tuesday evening with a tutor? He was saying that he goes through all that theory stuff, but if it's all a load of codswallop then perhaps I shouldn't bother.

[quote name='EssentialTension' post='898350' date='Jul 18 2010, 08:24 PM']Yes, I believe, as a rule, in C, the augmented 5th would be G# and, as my son said to me only the other day, 'augmented 5ths are awesome'. [/quote] I was thinking more anodyne or mix-amitosis or whatever they are

[quote name='EssentialTension' post='898334' date='Jul 18 2010, 07:55 PM']Wouldn't it be better to say that certain scales in certain keys have certain notes? Not certain notes but [i]any[/i] of the twelve notes occurs in any and every key and the note would then be named as an interval in relation to the key note e.g. in the key of C, Db would be a minor second, D would be major second, Eb would minor third, etc., up to B would be major seventh. So certain keys don't have certain notes, all keys have all the notes. Or am I getting it wrong and I need to learn more theory? Edited for inability to follow rules of spelling.[/quote] Is that when you start calling them those funny other names, when you start knoblin' about with minor 2nds and augmented 5ths? All though I think I might be wrong.

Thanks for your posts ET and Bloodaxe. I've played around a bit and, yes you guessed it my strap is back up where it was, the thread title may look a little silly now However I also looked at the angle of the neck and adjusted the position of the body in relation to my body slightly and I think I may have found a comfortable position that hopefully will see me make some improvements in my playing. I've also got to stop practising sat on the sofa, it's not good.

Sorry to hear the band tour wasn't a good experience, and I mean that genuinely. I bought your band's album (yes, I bought it not downloaded it for free off some ropey website) and absolutely love it. I really liked the tone of your bass on that recording and the playing's OK . If you need the money then you might not have a choice. However, from what I heard you don't lack ability and would be a shame to give up altogether. I'd try and keep as much as you can and especially the gear you most covet. All the best mate.

[quote name='EssentialTension' post='897459' date='Jul 17 2010, 05:59 PM']I like my strap adjusted so that the bass is in roughly the same place standing as it is when I am sitting down but sitting up straight and the bass is resting on my thigh.[/quote] This is what I've been adhering to for the last 6 months since I've started practising properly. However, I find my plucking hand feels restricted and hunched up. With the longer strap it feels much easier, especially for using 'floating thumb' to mute, that's probably just me. I've played a little more since posting this thread and must admit to being a little concerned about the reach of my fretting hand though. It is restricted and a little choppier. I may have to find a compromise height. It's OK at the moment as I'm not playing anything particularly taxing but I should imagine anything above plodding pop music may get awkward for me.

I was practising this afternoon (that's everyday this week, I'm ever so proud ) and by chance slackened off my strap a bit to make a little longer and my playing improved, well a bit. My fretting hand works better but aches more, so I'm a bit stuck. My plucking hand is markedly improved though, previously I felt all hunched up. So I'm a bit sort of perplexed as to whether to keep it lower or persevere with a more text book height. It certainly feels better lower and I could play the piece better, but my hand ached after.

[quote name='derrenleepoole' post='896847' date='Jul 16 2010, 08:42 PM']Well, 300 watts is a good overall rating that will do for almost any gig situation. If the gig is louder you use the amp as a backline and DI, if is quieter just turn down. Why have amps under that power rating? Good question... but the possible answer is not everyone needs that type of power. If you're an experienced enough player, you'll know what can and cannot work for you. So in this regard a pro amp like a Phil Jones Flightcase or Briefcase makes sense. Some players value, or require professional sound quality over volume, and where volume is concerned it's nothing that a house PA can't handle. I don't need a loud amp because I play with musicians who are competent enough not to play a stupid volumes, not everyone can or will do this. Yet I still have a 500 watt combo. Why, because it gives me headroom when needed. However, it's worth noting that power is nothing unless it can move air. So a 500 watt combo like mine will struggle against a 200 watt head with a 4x10 cab.[/quote] That's really pinpointed a number of things for me, thanks Derren. A lot of the venues around my way are quite small, and bands can't be too loud anyway. A bassist in a band I know gigs with a Laney ProLinebacker 100 combo and says it's perfectly adequate. Knowing what will and won't work, as you say, seems to be the key.

I'm beginning to change my mind after Big Red's post in particular but also Bubinga and thisname. Perhaps it's style, like I said in my last post I'd get p1ss bored playing stuff I don't like. But unlike Doddy I'm not trying to sustain a career, it's simply a hobby for me.

As a general rule of thumb, if a member asks about purchasing an amp for gigging purposes then they generally get the reply that 300w is the minimum they should be looking at. So why then are there so many combos, in particular, rated below and some well below the 300w rating? There are for example quite a few around the 100 to 150w mark. If this is under powered for gigging what would you use it for? They'd be too big for home practice. Or is it that you don't always need 300w? I see quite a few older amps and combos especially old Peavey TNT's and TKO's that kick out about 150w that the owner says has been well gigged and could knock a house down. I'm getting confused. Please help my frazzled brain.

I'd definitely aim for versatility. To be able to be placed in nearly any band setting and do the bassists job, of making others sound better (than they actually are ). However, due to my limited ability I'm probably stylistic, but I'd like to aim toward the other, maybe. Ironically I seem to have more feel for music that I don't generally listen to. [quote name='bubinga5' post='896782' date='Jul 16 2010, 07:19 PM']i have always had a certain style...i could never be a session guy as i just dont enjoy playing music other than what im passionate about...i just dont dig it...i can play rock, reggae, but i cant be enthusiastic about it...maybe i need to grow up...[/quote] There's nothing wrong with liking what you like and not wishing to play other genres. Despite being one of the worlds worst Bass players, a friend of mine keeps badgering me to start a band with him. Apart from lacking confidence in my ability, I'm also put off by the thought of playing music that, at best I'm ambivalent about and worst I down right hate, combine that with playing in venues that I don't want to be in. The combination of the two put me right off.