fatback

[quote name='fatgoogle' timestamp='1371642778' post='2116491'] Take a trip down to dublin and im sure someone can explain. PM me if you want some teachers numbers. [/quote] Will do when i see a chance. Thanks for that.

[quote name='Damo200' timestamp='1371633761' post='2116345'] I could talk to Neil for you and see if he might give you a skype lesson? [/quote] Unfortunately not with my bandwidth he couldn't . He'd need psychic powers:D But I appreciate the offer.

[quote name='FLoydElgar' timestamp='1371244415' post='2111812'] @Fatback, Might be worth getting some lessons with a Classical tutor, if you are unfamiliar with his terminologies and need help with dat bow! _f [/quote] Not easy because of where I live, but I'll definitely try again to sort something. Plenty scenery here, but not much else.

[quote name='ubassman' timestamp='1371217893' post='2111337'] I don't think that there will be simply because the variations on each exercise can take at least an hour ( or more in some instances ) to get through ! The Art of the Bow springs to mind as a video technique resource ...I guess you could always post on here and see if anyone can help ! [/quote] I had in mind more something demonstrating key parts of the material rather than laboriously going through the whole thing. Like most music books, it leaves lots of stuff about how to execute the exercises to a notional teacher to explain. For example, where it says that for rests the bow should stay on the string, it's pure guesswork what this actually means when you have to get from the upper to lower halves of the bow. That sort of thing. So easy if you could only see it. I have the 'Art of the Bow' and brilliant it is too. I quit trying to bow a while back and Art of the Bow makes such sense I'm giving it ago again. I'm a hopeless Rabbath fanboy, I know; but that's because he thinks things through in a way that I don't associate with music teaching, where mostly it's done that way cos it's always been done that way.

Trying to get going with Tarlton's Sevcik and wondering if there's any videos out there that might help. can't find anything on youtube. A pic = words X 1000 etc.

Oh very neat. Well spotted.

A Bilbo says, it's not 'either/or'. I've been finding a composite approach very helpful. I take a scale and work on all the diatonic chords in the scale playing the arpeggios all over the neck. Then mess about with the chords as modes to get the sounds in my head. I do think it's hugely useful to see chords as parts of a scale. My biggest limitation used to be playing in too 'angular' a way, playing through chords as they came along rather than leading into them, anticipating them and generally being a smoothy pants. Scales have really helped me do that.

The bow hair colour subject is interesting. I read somewhere that brown hair may be the best compromise for db. Anybody tried it? I'm hoping that blonde, mermaid's hair might do the trick for me, if I can source some.

[quote name='thisnameistaken' timestamp='1370645546' post='2104049'] Also cellists are smoking hot. [/quote] So, so very true

I've experimented like mad with endpin lengths and angles since a couple of good posts brought up the subject. Definitely I find the flatter angle / longer end pin puts strain on the thumb and slows down the left hand - too much supporting going on. Near vertical and I can even use the weight of the bass to reduce the work the hand has to do. It does seem like there's a potential conflict between the optimal height for bowing and for pizz. For thumb position, I can see why some folks like narrow bouts.

[quote name='ubassman' timestamp='1370350580' post='2099475'] Couple of things spring to mind ...sounds like it might be postural. It could be that your need to experiment with the height of the end pin. As a rule of thumb if you extend both hands either side of the fingerboard the first and second joint of the index fingers you should be able to reach between the bridge and the end of the fingerboard. It means the when you bow with your right hand your hand will be in the right zone and that for the left hand it can reach beyond the fingerboard to hit all those nice little harmonics ! Do you play with the bass at an angle or square on cello style? If its the first then that you maybe are having to reach too far ...effectively playing in line with your right hip rather than in line with the belly button i.e. your left arm may be foreshortened . To explain what I mean ...if your put both arms out in front they are equal ...if you then form an arc and move your right arm through 90 degrees out to the side and let your left follow it will end up near your right shoulder). The more you play to the right the shorter the left arm will reach. Squaring the bass more up like this ( see below - if you normally play to one side ), should put everything within easy reach ! Hope this helps ! [/quote] Great, thanks. I'll try this laterz. I've shortened the end pin (again) because there's no doubt its better for my left hand wrist posture, but it's not optimal for bowing. Hmm.

Slogging away at thumb position; i might even get there. A q though: when i shift down the board to say thumb on the d harmonic, the string is more under the side of my thumbnail than under the thumb joint. I don't seem to be able to reach far enough to use the joint all the way down the board. My arms aren't especially short, although the bass has quite fat bouts. Dunno whether this is a problem or not, and I can't see on vids. Am I storing up a bad habit here? Thanks for your help

Honestly, check out Rabbath's 'Art of the Bow' DVD. He talks about every aspect, and it all makes perfect sense. I believe he's revered for his bowing above all. Mind you, he'd need to move into my house for me to have much hope of progress, but i'm an especially difficult case. I hope to be reincarnated as better material.

[quote name='ChrisF' timestamp='1370272587' post='2098388'] It is by far the best money I have ever spent on anything....ever [/quote] This.

The sound of course. Makes the hair on the back of my neck stand up. There's also the neverendingness of the effort to learn to play. Longer than my likely lifetime. And cos it's cool. And did I mention that it's cool? And the cool thing.

If you change the bridge height by rotating the Full Circle adjuster, the sound and output level will change. It's only a few degrees difference in rotation, so you can get the height you want, then twiddle a little bit listening to the sound. http://www.fishman.com/files/full_circle_install_guide.pdf

I'd budget £100 for a setup, but there may be no hurry with that. Also, if you spent £900 on a bass, you'd still probably need a setup at some point. I wouldn't be put off by it. I know when i got my bass I felt i had to do everything at once, but it wasn't really necessary. You'll save a lot of cash in pickup experiments by having that Full Circle.

Is there a notch filter on the thing? If there is, you might amplify the bass and point the cab at it until you get feedback, then twiddle the notch until it reduces. Worked for me. I just leave the notch at that setting now.

A playable bass for £500 with a Full Circle and recommended by a teacher? If you were looking for a bass you'd wait a long time for that. Go for it. You can always buy another Stagg.

[quote name='Matt P' timestamp='1369318829' post='2087714'] big thumbs up for the midget from me, one on it's own is a wonderfully punchy cab and light as a feather. they're not cheap though and the waiting list is growing by the day, but i'm totally in love with the sound and the weight (9kg) Matt [/quote] +1000 Doesn't feel like a compromise in any way, in spite of the weight / size.

Lovely, thanks. A treat for later this evening.

I would double that wattage if you have a loud drummer. Being underpowered will drive you crazy if you're not going through a pa and the room is big or full. You'll end up turning up too much and distorting horribly. We're by no means loud for a country rock/rockabilly band, but without PA support I need 350W if I'm to have any headroom at all. And that's with a very efficient cab (a Midget). If your back is ok, and the budget is low, I'd say choose loud over light. And don't worry about loud being feedback prone. Feedback is caused by a host of factors, not just the loudness of the amp.

If you use a Fish Pro, I doubt it matters what amp you use. Light and compact is the name of the game imo. :0

I'd go for the somewhat better bass (assuming it feels as good to play). You can beg, borrow, steal, finesse the electronics bit as time passes. As thisnameistaken says, you'll be practicing acoustically, and sounding good to yourself is so encouraging. You may keep the bass for years, while I'll bet in two years time you won't have the same amp setup at all.

Wow, great vid. Need a higher framerate just to keep up with his left hand. A blur.