OliverBlackman

[quote name='chris_b' timestamp='1416097699' post='2606961'] If you can't lower the action on your bass as much as you like because of fret buzz have a fret stone to level the frets. The bass will be set up as part of that process. I just had my Lakland fret stoned. It plays so much better now. [/quote] This is probably what I will do, but my thinking was that as Plek say they can get it to its maximum output it would be a good way to do it. Obviously the comments on here show a variant in success. [quote name='bassmayhem' timestamp='1416134790' post='2607130'] The best way to enhance harmonics on a P-bass is swapping it for a J-bass, or at least putting a bridge pickup on it. The P-bas is kinda limited in doing the Jaco things, due to the pickup placement. [/quote] I've tried it unplugged and I can hear the D#, whereas amplified I can't, which seems to support this idea. But then I seem to get all the other harmonics come through fine which made me think it was a setup issue. [quote name='HowieBass' timestamp='1416136874' post='2607165'] You don't need any frets at all to get harmonics since you're touching the string with the fretting hand at the appropriate position for the harmonic rather than holding it down against a fret - you can get harmonics on a fretless bass [/quote] As someone who has played and owned fretless basses, I can't believe I didn't think of this.

I'm ok at setups and have a decent tuner which says my intonation at most points down the neck are spot on. I have the action fairly low but I have played basses, like Sadowskys, that have it lower, and I know the action on my Fender won't go any lower without fret buzz. The reason I thought the frets might have something to do with the harmonics is because on the D# harmonic in Portrait of Tracy where you fret the B, I can't get it on this bass, whereas I can on any other.

I'm thinking of having this done on my Mexican precision. I imagine the main difference it would make is the height of action. But I was wondering if it would also make harmonics easier to resonate and I would be able to find some that I currently can't acheive on the bass? Has anyone had this done and noticed significant differences?

Are you referring to the 4 bar pattern where the lyrics start with "Im a proud, proud man"? If so these are the fills. I would recommend playing them on the D string to get the "darker" tone that he gets.

[quote name='Sonic_Groove' timestamp='1414450471' post='2589510'] On Spotify [url="http://open.spotify.com/album/03mVQ06oXKiSqWMqdcp1Ej"]Bobby Vega – Sketches Of Bob[/url] [url="http://open.spotify.com/album/1qwKKWtWr9KFpbMPplkPoh"]Bobby Vega – Down The Road[/url] [url="http://open.spotify.com/album/2HqPGPgstjWz86SsIEylBu"]Bobby Vega – Bobby Vega And Chris Rossbach[/url] B [/quote] Really like some of the songs he did with Chris Rossbach! Any other suggestions with him as a sideman? [quote name='Wonky2' timestamp='1414485424' post='2589624'] Check out the tower of power back catalogue.... What is hip is his puck style down to a t [/quote] He said he started the pick style so he could play what is hip!

I've seen a few videos of him and love his pick style but haven't heard him on a record? Has anyone got any recommendations? YouTube links or song/ album names would be appreciated.

It is my opinion that the; age, treatment, and origins (humidity/ weather) of the wood makes more of a difference to the tone than the wood type.

Although its nice that everybody contributes it can be very confusing. I would advise to seek ONE teacher or ONE book, mostly because although the theory is the same, the way in which it is communicated is often different, this thread being a great example.

I've owned a few "high end" basses and have, for the first time since I first picked up the instrument, ended up with just one. A MIM Precision, although with a few mods. I'm constantly surprised by what it can deliver, and I definitely don't miss having a B string. If anything its opened up the fretboard. I do hanker for a 70's Jazz bass but I wouldn't need it, it would just be fulfilling a long standing desire.

I never bothered to notate the chorus and pre-chorus but here is the verse groove. I did this what seems like a very long time ago so apologies for any inaccuracies.

Had a very good transaction with Mark. Hope you enjoy the bass!

For me they both have a very strong sense of rhythm and that is where the similarities stop. Pino is quite a mellow bass player and very articulate, where as what I've seen of Sharay, he is more of a chop buster. Personally I enjoy seeing both of them excel in their own strengths. If I had to choose someone to do a session with it would be Pino, though only because I think i have more in common with him than Sharay.

[quote name='JazzBassfreak' timestamp='1404760207' post='2495511'] So "Lil Wayne" has talent after all? [/quote] People usually define talent as someone who is really skilled at something. Are you saying Lil Wayne or Will I Am aren't highly skilled at anything? The skills they have chosen to obtain may be different to what you would like to think are "good", but the fact is they can do something very well, otherwise they wouldn't be successful. It's just that you don't like that particular thing that they do but unfortunately for you many other do. Not saying I do, but at least I'm not naive enough to think todays music is all crap, purely based on personal taste.

[quote name='ambient' timestamp='1401827499' post='2467361'] I think it must depend on the college, but also maybe the course ? I auditioned for and was offered a place on the degree at BIMM in Bristol. That was a BA in contemporary music performance. I wanted a BMus because I planned to teach at further education level. I auditioned where I'm studying now and had to do the HND first to get aspects of my playing to a high enough level. [/quote] I'm going to reply to this in two stages. 1. If you're planning to teach at a contemporary Music college/ university, most choose their tutors based on experience in the industry. So its important to have had a career as a performer first. They do this so they can entice potential students. My mum is a director of arts at a college, and she says that to get a teaching job at her college usually requires the candidate to have completed a masters. 2. Not many people will have the skills they need after doing a 1 year HnD (Not saying you don't). It takes a lot of time (some say 10,000 hours) of practice to get good. Most of the people I studied with at HnD, who did not follow onto the degree, don't have a career in music or the skills to do so. Its important to realise I am not aiming at just you Ambient, but generalising so people have a clearer picture of what it means to go to music college. Something I wish I had before choosing where to study.

Not going to read all of the replies but just going to offer my view. It depends on the college. I know that Berklee has an extremely high standard as does the Royal Academy in London. However, as a music college graduate I agree with most of what bilbo has said. In the 2 years since I graduated I have gained the skills to be proficient in playing to a high level, through studying books and with a tutor. When I left the degree (Which I got a 2:1 in), I was nowhere near the standard I should have been. Yet because of the students and tutors feedback we all thought we were pretty good. I think it was because; A) they let anyone of any standard in, even after rigorous auditions. The tutors just taught enough to pass a certain basic level. The guys who were on the course and have a career in music, were already at the high level before they attended. For example Ed Sheeran attended for all of 2 terms before getting snapped up. So, the degree is more of a security blanket incase music doesn't work out. However, no-one outside of music wants to employ someone with a music degree! Therefore if the idea of doing a music course is to network, why would you study anywhere outside of London, LA or NY, where the industry is.