Week 6 vid is up: http://www.howtopractice.com/content/Year-Bass-Week-6-Plateaus
Also got the Jamerson book - nice!
Also got the Jamerson book - nice!
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Bass in a Year
- Thread starter Mike Saville
- Start date
I disagree...there is a place for tabs and especially for a beginner ...to learn note placings and easier finger positions from more experiencied players....its not a good thing when "musicians" speak in absolutes !!! NEVER USE A PICK....ONLY USE A PICK....blah blah
Great to hear about your project. There is some really great advice here. To answer your question, "how far can you get within a year?" - VERY FAR. Here are a couple of observations / tips.
1. Tab is ok, music is ok, learning by ear is ok. As a musician, you know what to expect on a professional gig. Here's a hint - have you ever seen TAB on a professional gig? You already read bass clef, and once you figure out how your fingers go over the notes on the fretboard, you'll be fine.
2. There is no need to use only "electric bass books". Read everything you can get your hands on, including your trombone exercises. Here are a couple of non-electric bass books I HIGHLY recommend:
The Simandl Book for Double Bass - ignore the fingerings (it is for upright), but the exercises are in single positions, and very scalar in nature.
Bach Cello Suites - Obviously, very difficult, but try slogging your way through them. They aren't impossible, if you play them slow enough. Excellent examples of arpeggios, too!
Charlie Parker Omnibook - super hard - Parker solos transcribed in bass clef.
Do you have an Arban's book for trombone? I played trumpet for years prior to picking up the bass & the style of the Arban's book is perfect pedagogy - scales & arpeggios. Ignore the lip slurs...
3. Playing - play along with absolutely anything you can. I recommend the Oldies station to beginners, since it tends to be a little easier than Rush. Buy a Real book & play along to classic jazz recordings - most of them are in here. Even better, get some transcriptions of classic bass lines & practice your reading at the same time.
4. Walking a jazz line. Assuming you already have a good grasp on music theory (i.e., you know what "Dm7b5" means, and what scale to play over it, the key it is in, etc.), you are more than halfway there, and may already know the hardest material to learn.
If you are playing in a jazz combo, it will be mostly about the horn player, not you, so as long as you can lay down the basics, you'll be able to play a significant number of jazz gigs. I speak from direct experience - I was playing Real Book tunes at gigs within a year of starting the bass. My lines weren't the best & often repeated the same notes, but the horn player got to play another chorus of "Autumn Leaves".
Here are the phases of learning a walking jazz line that should work for you:
1st - start on the root of each chord, and outline the chord using only the notes contained within it. This means C7 gets C, E, G, Bb ONLY. Move to the next chord, and repeat. Your lines will sound choppy, but they will get the job done.
2nd - Take the first approach, but anticipate the next chord, so you land on the root of the 2nd chord. Example: Going from C7 to F could be C-E-G-E -> F ...
3rd - same approach as 2nd phase, but use leading tones. C7 to F could be C-E-G-Gb -> F
4th - Use scales that describe that particular chord. C7 to F could be C-C-D-E -> F.
5th - use a combination thereof & begin a measure on 3rd or 5th of a chord, with passing tones in between.
While listening to classic lines & knowing the chords, feel free to copy exactly what the great bassists use for walking lines. Figure out why Ray Brown did what he did while walking lines.
5. One finger per fret. On a 5 stringed bass this means you have 14/16 notes of a 2 octave scale without stretching. Within stretching, you have two full octaves underneath your fingers. There aren't many notes used that fall outside of that span. (I assume you already have decent finger stretching/spread since you play piano...). Practice reading and playing in multiple positions. A lot of folks give the standard line that "no money is made past the 5th fret" or some other tripe. Hmmm. Study Stanley Clarke & play the unison part to "Spain" using only the first / second position... (Actually, he did it on upright, but the point remains...) The relative locations of the notes are the same everywhere on the bass (the distance between a C & D is the same on the G or B strings - 2 frets). Same for all other notes. The Simandl book will help with playing in a fixed position. This is REALLY tough to begin with, but in the end, necessary.
6. Bassists to study - the list you have is excellent, although their lines can be a bit advanced for a beginner. Ray Brown & Duck Dunn - excellent. There are transcriptions of Ray Brown's lines (He also has a method book that is quite decent, too!)
I'd also recommend:
George Porter Jr - Meters (very basic lines, yet exceptionally funky). You should be able to play some of these already.
Jamerson - also excellent - as a beginner, don't get hung up on the ghost notes & syncopations. Try to cop the feel & fit in with the song. You can add the extra stuff in later.
Paul Chambers - played with Miles Davis - great lines & you can find them transcribed.
7. When playing live at a gig, forget all the fancy techniques you've been practicing at home. Most of the time, you end up overplaying - unless you are Jaco or Stanley & can make your overplaying fit in, it won't. Make the tune your own, but in general, keep it simple. (I've had to learn this one the hard way...).
8. You know the distractions of playing live music. As soon as you can, play your bass in front of a crowd. "Mustang Sally" is an easy tune, but can be surprising tough if you're distracted by the girls dancing around.
9. Scales & arpeggios - learn them in a single position, and up & down the neck. You are already a musician, so ostensibly, you know the modes. Play these also, in all 12 keys. What you will quickly learn is that there is absolutely no difference playing a tune in the key of Gb vs playing a tune in the key of E (ok, you get to use some open strings...). The fingering for a major third between two strings is always the same, regardless of the key.
10. Breaking up scales & arpeggios - in addition to #9 above, break them up into thirds, fourths, sixths, sevenths or go up & down alternatingly for arpeggios, etc. Be creative in how you learn them. Make sure to repeat in all 12 keys. A couple hours of playing 2 octave major scales in thirds & sixths in all 12 keys will do WONDERS for learning the fingerboard.
11. Gear - make sure the bass is set up properly (nothing is harder than playing difficult exercises on a poorly setup bass). Learning what you like in a setup is a lifelong process. Same goes for basses & amps. Despite what you read on TB, gear is only as good as you can play it. You will be a better bassist with practice time over a really expensive bass & amp.
12. Playing with a band - the amp settings you need to fit with a band live might not be the same you use in your living room. Be prepared to change if needed & remember your role as a bassist.
13. Classical playing - I find classical playing to significantly help development on an instrument. As such, I'd recommend playing a concerto or two for double bass. I'm sure you have similar experience with trombone & piano. Something I like to do.
I hope this helps. These are just a few tips I've learned over the years.
ian
1. Tab is ok, music is ok, learning by ear is ok. As a musician, you know what to expect on a professional gig. Here's a hint - have you ever seen TAB on a professional gig? You already read bass clef, and once you figure out how your fingers go over the notes on the fretboard, you'll be fine.
2. There is no need to use only "electric bass books". Read everything you can get your hands on, including your trombone exercises. Here are a couple of non-electric bass books I HIGHLY recommend:
The Simandl Book for Double Bass - ignore the fingerings (it is for upright), but the exercises are in single positions, and very scalar in nature.
Bach Cello Suites - Obviously, very difficult, but try slogging your way through them. They aren't impossible, if you play them slow enough. Excellent examples of arpeggios, too!
Charlie Parker Omnibook - super hard - Parker solos transcribed in bass clef.
Do you have an Arban's book for trombone? I played trumpet for years prior to picking up the bass & the style of the Arban's book is perfect pedagogy - scales & arpeggios. Ignore the lip slurs...
3. Playing - play along with absolutely anything you can. I recommend the Oldies station to beginners, since it tends to be a little easier than Rush. Buy a Real book & play along to classic jazz recordings - most of them are in here. Even better, get some transcriptions of classic bass lines & practice your reading at the same time.
4. Walking a jazz line. Assuming you already have a good grasp on music theory (i.e., you know what "Dm7b5" means, and what scale to play over it, the key it is in, etc.), you are more than halfway there, and may already know the hardest material to learn.
If you are playing in a jazz combo, it will be mostly about the horn player, not you, so as long as you can lay down the basics, you'll be able to play a significant number of jazz gigs. I speak from direct experience - I was playing Real Book tunes at gigs within a year of starting the bass. My lines weren't the best & often repeated the same notes, but the horn player got to play another chorus of "Autumn Leaves".
Here are the phases of learning a walking jazz line that should work for you:
1st - start on the root of each chord, and outline the chord using only the notes contained within it. This means C7 gets C, E, G, Bb ONLY. Move to the next chord, and repeat. Your lines will sound choppy, but they will get the job done.
2nd - Take the first approach, but anticipate the next chord, so you land on the root of the 2nd chord. Example: Going from C7 to F could be C-E-G-E -> F ...
3rd - same approach as 2nd phase, but use leading tones. C7 to F could be C-E-G-Gb -> F
4th - Use scales that describe that particular chord. C7 to F could be C-C-D-E -> F.
5th - use a combination thereof & begin a measure on 3rd or 5th of a chord, with passing tones in between.
While listening to classic lines & knowing the chords, feel free to copy exactly what the great bassists use for walking lines. Figure out why Ray Brown did what he did while walking lines.
5. One finger per fret. On a 5 stringed bass this means you have 14/16 notes of a 2 octave scale without stretching. Within stretching, you have two full octaves underneath your fingers. There aren't many notes used that fall outside of that span. (I assume you already have decent finger stretching/spread since you play piano...). Practice reading and playing in multiple positions. A lot of folks give the standard line that "no money is made past the 5th fret" or some other tripe. Hmmm. Study Stanley Clarke & play the unison part to "Spain" using only the first / second position... (Actually, he did it on upright, but the point remains...) The relative locations of the notes are the same everywhere on the bass (the distance between a C & D is the same on the G or B strings - 2 frets). Same for all other notes. The Simandl book will help with playing in a fixed position. This is REALLY tough to begin with, but in the end, necessary.
6. Bassists to study - the list you have is excellent, although their lines can be a bit advanced for a beginner. Ray Brown & Duck Dunn - excellent. There are transcriptions of Ray Brown's lines (He also has a method book that is quite decent, too!)
I'd also recommend:
George Porter Jr - Meters (very basic lines, yet exceptionally funky). You should be able to play some of these already.
Jamerson - also excellent - as a beginner, don't get hung up on the ghost notes & syncopations. Try to cop the feel & fit in with the song. You can add the extra stuff in later.
Paul Chambers - played with Miles Davis - great lines & you can find them transcribed.
7. When playing live at a gig, forget all the fancy techniques you've been practicing at home. Most of the time, you end up overplaying - unless you are Jaco or Stanley & can make your overplaying fit in, it won't. Make the tune your own, but in general, keep it simple. (I've had to learn this one the hard way...).
8. You know the distractions of playing live music. As soon as you can, play your bass in front of a crowd. "Mustang Sally" is an easy tune, but can be surprising tough if you're distracted by the girls dancing around.
9. Scales & arpeggios - learn them in a single position, and up & down the neck. You are already a musician, so ostensibly, you know the modes. Play these also, in all 12 keys. What you will quickly learn is that there is absolutely no difference playing a tune in the key of Gb vs playing a tune in the key of E (ok, you get to use some open strings...). The fingering for a major third between two strings is always the same, regardless of the key.
10. Breaking up scales & arpeggios - in addition to #9 above, break them up into thirds, fourths, sixths, sevenths or go up & down alternatingly for arpeggios, etc. Be creative in how you learn them. Make sure to repeat in all 12 keys. A couple hours of playing 2 octave major scales in thirds & sixths in all 12 keys will do WONDERS for learning the fingerboard.
11. Gear - make sure the bass is set up properly (nothing is harder than playing difficult exercises on a poorly setup bass). Learning what you like in a setup is a lifelong process. Same goes for basses & amps. Despite what you read on TB, gear is only as good as you can play it. You will be a better bassist with practice time over a really expensive bass & amp.
12. Playing with a band - the amp settings you need to fit with a band live might not be the same you use in your living room. Be prepared to change if needed & remember your role as a bassist.
13. Classical playing - I find classical playing to significantly help development on an instrument. As such, I'd recommend playing a concerto or two for double bass. I'm sure you have similar experience with trombone & piano. Something I like to do.
I hope this helps. These are just a few tips I've learned over the years.
ian
Chebass88: Thanks for the great post! Where does one get transcriptions of Ray Brown and Paul Chambers?
OK, here are a few of the places to get transcribed lines:
"The Improvisor's Bass Method" - Chuck Sher (transcriptions of Mingus, Jaco, Eddie Gomez, Jamerson, Scott LaFaro, Jimmy Garrison, Ron Carter, Ray Brown, Paul jackson, Paul Chambers, Alphonso Johnson, Richard Davis, "Pops" Popwell, & George Mraz). Published by Sher Music Co.
"Bebop Bass: A Collection of Transcribed Bass Lines & Solo Choruses for Upright or Electric Bass" - Transcribed & Compiled by Harold Miller, Warner Brothers Publication. Chambers, Heath, Pettiford, etc. ***I read through this while preparing for All-State & All Eastern Jazz Band in HS. Excellent for sight reading & dissecting classic lines in order to learn.
"110 Studies, Opus 20, Vol. I For String Bass", Fred Zimmerman, International Music Company - classical ditties for upright bass, but challenging on electric as well. You can always swing the 8th notes!
"30 Studies for String Bass" - Simandl (ed. by Fred Zimmerman), International Music Co. More really challenging stuff for upright that can be played on electric.
I have a lot more, too - too many to list here. YES, there IS an Arban's book for trombone. I bought it a few years ago while I was on travel for work & completely forgot about it until I was digging in my method books this evening.
Lastly, as a comparison, within 6 months of picking up an upright for the first time & taking a few lessons, I was successfully accepted into the university orchestra (University of Delaware) as well as the #1 Jazz Band. We did real big band charts & orchestral scores (Stravinsky's Firebird is BRUTAL on a beginner!!!) Many of these books were used during the first several months of my lessons. Learning upright is much harder than electric (especially with bowing), so that should give a good example of what you can accomplish.
Keep charging forward!
ian
"The Improvisor's Bass Method" - Chuck Sher (transcriptions of Mingus, Jaco, Eddie Gomez, Jamerson, Scott LaFaro, Jimmy Garrison, Ron Carter, Ray Brown, Paul jackson, Paul Chambers, Alphonso Johnson, Richard Davis, "Pops" Popwell, & George Mraz). Published by Sher Music Co.
"Bebop Bass: A Collection of Transcribed Bass Lines & Solo Choruses for Upright or Electric Bass" - Transcribed & Compiled by Harold Miller, Warner Brothers Publication. Chambers, Heath, Pettiford, etc. ***I read through this while preparing for All-State & All Eastern Jazz Band in HS. Excellent for sight reading & dissecting classic lines in order to learn.
"110 Studies, Opus 20, Vol. I For String Bass", Fred Zimmerman, International Music Company - classical ditties for upright bass, but challenging on electric as well. You can always swing the 8th notes!
"30 Studies for String Bass" - Simandl (ed. by Fred Zimmerman), International Music Co. More really challenging stuff for upright that can be played on electric.
I have a lot more, too - too many to list here. YES, there IS an Arban's book for trombone. I bought it a few years ago while I was on travel for work & completely forgot about it until I was digging in my method books this evening.
Lastly, as a comparison, within 6 months of picking up an upright for the first time & taking a few lessons, I was successfully accepted into the university orchestra (University of Delaware) as well as the #1 Jazz Band. We did real big band charts & orchestral scores (Stravinsky's Firebird is BRUTAL on a beginner!!!) Many of these books were used during the first several months of my lessons. Learning upright is much harder than electric (especially with bowing), so that should give a good example of what you can accomplish.
Keep charging forward!
ian
Nice video, too.
Use a METRONOME for EVERYTHING, no matter what. As a bassist, the tempo needs to be absolutely ingrained in your mind. Let the horn players rush syncopation and a drummer slow down, but you can remain constant (with training). This is true for anything you read, practice, etc.
ian
Use a METRONOME for EVERYTHING, no matter what. As a bassist, the tempo needs to be absolutely ingrained in your mind. Let the horn players rush syncopation and a drummer slow down, but you can remain constant (with training). This is true for anything you read, practice, etc.
ian
Chebass88: Thanks for the list. I've ordered the Chuck Sher book on improvisation. Sad to say the Bebop Bass book is out of print and unavailable.
CheBass88, Wow thanks for the in-depth input. I've not had a chance to fully digest all your comments but I will and do a full response later.
The vid for this week is up: Week 7 - Posture
On the back of the Jameson book I've also decided to set myself the difficult challenge of learning 'For Once In My Life' in a week. Check next weeks vid to see if I managed it. . . .
I've had a brief go and I'm nowhere near it a the moment, I might fall flat on my face - but that's OK. It's all learning and there will be positives I can take from the experience.
The vid for this week is up: Week 7 - Posture
On the back of the Jameson book I've also decided to set myself the difficult challenge of learning 'For Once In My Life' in a week. Check next weeks vid to see if I managed it. . . .
I've had a brief go and I'm nowhere near it a the moment, I might fall flat on my face - but that's OK. It's all learning and there will be positives I can take from the experience.
Oooh, also forgot to mention that I have my first gig. :0 
Christmas concert playing 'When A Child Is Born'. It's a fill in between some other more traditional brass numbers but I'm looking forward to it already
Christmas concert playing 'When A Child Is Born'. It's a fill in between some other more traditional brass numbers but I'm looking forward to it already 
I have been playing bass about 9 months now after playing guitar for about 20 years, I feel very confident with my band now and we have got a gig on 23rd October in a pub, its a private party for the pub landlord so a guaranteed audience-should be great, I have even got the singing and playing good now .
We have 35 songs in our list rangin from Hendrix, George Thorogood, Stones, Clash, Free, Who, Georgia Satellites, Beatles, mostly classic rock from the 70s to the 90s type eras, I am struggling with one song though, its `Continental Op` by Rory Gallacher, I just cant get the feel of it !!
I love my Gibson SG faded bass, the short scale and lightweight is so nice compared to my MIM Precision which I find bulky and cumbersome by comparison, I much prefer the tone too .
Happy days
We have 35 songs in our list rangin from Hendrix, George Thorogood, Stones, Clash, Free, Who, Georgia Satellites, Beatles, mostly classic rock from the 70s to the 90s type eras, I am struggling with one song though, its `Continental Op` by Rory Gallacher, I just cant get the feel of it !!
I love my Gibson SG faded bass, the short scale and lightweight is so nice compared to my MIM Precision which I find bulky and cumbersome by comparison, I much prefer the tone too .
Happy days
I've picked up TAB now - can't read it at any speed. But thinking that's not the point of it. Seems to be a guide to get you started on tunes. It has however been very useful so far for stretching exercises.
Thanks, I'm aware of all those books and already have some of them
I do intend to look at the Cello Suites at some point.Agreed. Though IMO there is real value in playing by ear and then doing a transcription yourself. I know I could find transcriptions for most things but that kind of misses the point for me. The real value in transcription is doing it and working out how the lines fit in with the underlying harmony.
I'm working through the Ed Friedland book at the moment, which has been very useful. I do have a good existing knowledge of harmony etc and I've also been one of 'those horn players' out front.
So the changes are OK. What I'm finding more difficult is translation speed between what is in my head and what comes out of the fingers. Ray Brown is on my list of players to study later in the year.Ooh, something I don't know there (rubs hands ready to learn something
) What are first and second positions?At the moment I've tended to base my walking playing around the 6/8 frets and the C/F/Bb there. Seems that I can get to most notes I need easily from there.
I've tended not to use open strings - to me they sound different to fretted notes - my impression is that you want a consistent walking sound and not one where the tone changes. Any problems with this??
I've been looking at Jameson for the past 10 days or so. Whilst I can play some lines I'm acutely aware that I'm nowhere near the feel or style that he had.
There's also other lines (such as For Once In My Life
) which I'm no where near.Good point, will remember that one. No one will notice if I just play roots - but they will spot it if I mess up some fancy run . . . . .
Been there, the girls can be a distraction - especially if they have a 'wardrobe failure' I kind of picked that up already - I need to put some work into learning the notes - not just the positions/patterns.
It's on the 'To-Do' list.
I guess this is the same whichever instrument you play. I tell students of other instruments to save their money and do extra practice every day.
The setup one is interesting, I think perhaps I should get my bass seen to. Top 4 strings feel fine to me. The 5th tends to 'buzz' more than the others so maybe I need to get the height or something looked at. . . .. .
Sure, that other thing is that the sound out front is always different to that on stage. Getting the difference in perception can be tricky. I am a bit unsure how this will work with bass as it's my first non-acoustic instrument.
Really useful stuff, somethings I knew, some I didn't and some timely reminders. Thanks once again for your thoughts and efforts in this post.
Thanks, but the gig was really on trombone - just so happens they needed bass for one number . . . . . . .
Vid for this week is up: Week 8 - Mistakes
Interesting week. Realised just how hard some of the Jamerson stuff is. I got close to some of the notes - but a long, long way from the ease or feel really needed.
Whilst I did crash and burn on my goal of learning 'For Once In My Life' this past week I did learn an amazing amount in the process. So would definitely recommend any one stretch themselves once in a while with something really, really hard.
Interesting week. Realised just how hard some of the Jamerson stuff is. I got close to some of the notes - but a long, long way from the ease or feel really needed.
Whilst I did crash and burn on my goal of learning 'For Once In My Life' this past week I did learn an amazing amount in the process. So would definitely recommend any one stretch themselves once in a while with something really, really hard.
Mike,
Sorry for the delayed reponse - I was on travel all last week, and trying to do homework this weekend.
1st & 2nd positions refer to the first fret where your index finger is - if your index finger is on the 6th fret, that is "6th position". More commonly used in upright, but there are occasionally some electric bass methods that use it also.
Open vs. closed positions (open strings vs. all notes fretted). Yes, in general, you want to have as smooth a sound as possible, but it is occasionally ok to use open strings as well. Try playing the Jamerson stuff completely fretted! For walking lines, you have a 5 string bass, so you should be able to hold it down in all closed positions.
Setups - it takes a while to learn what you like, but you can certainly experiment. After all, a bass is just a mix of wood & metal. I recommend the sticky thread in the Roscor forum for great info on setups. They focus on Roscoe basses, but the principles apply to all electric basses. There are also some decent websites. A professional setup might be in order. Just a thought.
Amp settings - Bass waves take a certain distance to mature - what it sounds like standing next to the speaker is not what it sounds like in the audience - and that is where the sound matters. I like a brighter sound on stage, which sounds great out in the audience. If I EQ the sound to be bassy from the amp, it can have a tendency to be muddy in the audience. It all depends on what you are going for.
First & foremost - it is better to start off too low in volume. Let the soundman / bandmate ask you to turn up. This ALWAYS works for me, particularly with a new band. Eventually, you will recognize the appropriate levels required for live playing, with any band, in most venues.
Lastly, as a bass player (and especially one on TB), it is important to lust after the basses in the classifieds and get more than one (or two). No practical reason on this, just an excuse to collect more basses. (In all seriousness - spend more time practicing & get gear later)
ian
Hope this helps!
ian
Sorry for the delayed reponse - I was on travel all last week, and trying to do homework this weekend.
1st & 2nd positions refer to the first fret where your index finger is - if your index finger is on the 6th fret, that is "6th position". More commonly used in upright, but there are occasionally some electric bass methods that use it also.
Open vs. closed positions (open strings vs. all notes fretted). Yes, in general, you want to have as smooth a sound as possible, but it is occasionally ok to use open strings as well. Try playing the Jamerson stuff completely fretted! For walking lines, you have a 5 string bass, so you should be able to hold it down in all closed positions.
Setups - it takes a while to learn what you like, but you can certainly experiment. After all, a bass is just a mix of wood & metal. I recommend the sticky thread in the Roscor forum for great info on setups. They focus on Roscoe basses, but the principles apply to all electric basses. There are also some decent websites. A professional setup might be in order. Just a thought.
Amp settings - Bass waves take a certain distance to mature - what it sounds like standing next to the speaker is not what it sounds like in the audience - and that is where the sound matters. I like a brighter sound on stage, which sounds great out in the audience. If I EQ the sound to be bassy from the amp, it can have a tendency to be muddy in the audience. It all depends on what you are going for.
First & foremost - it is better to start off too low in volume. Let the soundman / bandmate ask you to turn up. This ALWAYS works for me, particularly with a new band. Eventually, you will recognize the appropriate levels required for live playing, with any band, in most venues.
Lastly, as a bass player (and especially one on TB), it is important to lust after the basses in the classifieds and get more than one (or two). No practical reason on this, just an excuse to collect more basses. (In all seriousness - spend more time practicing & get gear later)
ian
Hope this helps!
ian
Let the GAS begin!
I guess that's like anything else in that you need to practice it to become really good.
Here let me have a try, see what ya think.
I'd like a Warwick bass and a Mark Bass amp.
How's that?
I guess that's like anything else in that you need to practice it to become really good.
Here let me have a try, see what ya think.
I'd like a Warwick bass and a Mark Bass amp.
How's that?
Weak. Bump that list up to about 5 basses, 3 amps, 6 pedals and about 10 other miscellaneous accessoriesLet the GAS begin!
I guess that's like anything else in that you need to practice it to become really good.
Here let me have a try, see what ya think.
I'd like a Warwick bass and a Mark Bass amp.
How's that?
At times up there at the dance floor, it is difficult for me to concentrate on
my playing. Just this weekend, I was incredibly distracted. Right in front
of me, there was bumping, grinding, kissing, necking, near-nakedness
and lewd acts -- and that was just Mike, our lead singer!
