Yes, bass is often the instrument of choice of people who see it as an easy way to be in a band… which is a shame, because it’s a beautiful instrument in the right hands…
Couldn’t agree more. In the case of my daughter, I am hoping it is a “gateway” into appreciating the bass for its huge power and possibilities.
I showed her Bootsy’s Basic Funk Formula and she was really into it!! 
[quote=“WordMan, post:3985, topic:527172”]
Couldn’t agree more. In the case of my daughter, I am hoping it is a “gateway” into appreciating the bass for its huge power and possibilities.
I showed her Bootsy’s Basic Funk Formula and she was really into it!! 
Cool. Larry Graham is a favourite player of mine, he originated a lot of what became funk bass. Find some of his work to show your daughter, he’s an inspiring player too.
Oh, believe me, I know Larry Graham of Sly and the Family Stone and Graham Central Station. He’s on my Mount Rushmore of bassists alongside James Jamerson, John Entwistle and Paul McCartney
I just like the fact that Bootsy’s clip is a minute long, focuses on how Funk starts on the One (for non-musicians, see the clip, it will make sense) and how he takes that basic rule and shows some cool improv’d funk licks based on it.
He also has massive thumbs and one of the loudest fingersnaps around!
Getting better at rhythm is one of my reasons for learning bass. I’ve always appreciated how the bass player locks in with the drummer. I’m hoping my rhythm playing will improve as I learn bass. Bass is a cool instrument.
Am watching this Larry Graham video right now. Pretty freaking awesome.
That’s because he’s LARRY GRAHAM!!
I have mentioned in this on the SDMB before: Prince has a DVD called Rave unto the Year 2000 which is basically his millennial jam. Very fun. But at one point, Larry Graham comes out and he and Prince have a bass-playing cutting contest! I mean, not really digging into each other, just two excellent bassists trading licks.
I knew Larry Graham was LARRY GRAHAM, and knew that Prince was an amazing guitarist and keyboardist, but he threw down with Graham just fine.
The most important thing? Larry knows his job - regardless of how poppy-slappy his playing gets, he holds it down and doesn’t play lead bass. As a guitar player, I really respect that.
“Your left hand is what you know; your right hand is who you are.”
I’ve played for decades and not heard this. Deep truth there.
You might give John Clayton a listen. This clip is he and his son playing. Clayton teaches locally and has a lot of Youtube teaching videos on bass playing.
An “old saying” that this old guitar player has never heard (started 50 years ago). But very insightful.
Fender Custom Shop Strat with a finish based on Fabrege fuckin’ Eggs.
I like a nice Fabrege Egg - but I don’t like my guitars pretty.
Good God, Wordman, I hope you’re not implying that those of us who like pretty guitars are under any obligation to like that one.
Is that Donald Trump’s guitar, by any chance?
Wordman (Fender): ugh.
It’s the DBF (douchebag factor) - a guitar can be a work of art based on more than just the design, but man I hate it when they are douchey.
It looks like something a Russian Oligarch would order, just because…
My new toy: Line 6 POD HD 300
I picked up a used model at Guitar Center for $150 with a gift card I got for Christmas. Weather has so far prevented me from jamming with the boys with it, but it sounds pretty bad-ass in my living room with my practice amp.
Cool! I have no experience with multi-effects processors, minimalist Luddite that I am. Do you work through what all it can do, line up what effects you’d try on a song, then dial them up into a Preset? Or do you improvise? “Hey, some Phasing would be cool here along with the overdrive - I’ll just dial some up…”
Yeah, I’ve been tinkering. I think I have most of the basics down.
There are three modes driving what the pedals do: 1 - switching the three effects banks and the amp modeler on and off; 2 - cycling through the presets; 3 - a looping dealio that is fun, but kind of just a novelty for me at this point.
There is a lot of tweaking you can do with all the effects and amp models. I mean, 16 amp models, and 80 effects (all with sweep style settings) so the combos are many (I’m not a mathematician so what is it, 80 X 16 = 1,280 different tones with adjustable level of effects?). Plus the ability to tweak and save settings as well. So I’ve identified a few favorite tones, and tweaked a few and saved them according to what I might need for any tune (clean, bluesy, lead, and crazy over the top metal).
Probably more than I need, but hey … sometimes more is more, ya know?
Actually, now that I think about it, it isn’t quite that many … there are 80 effects, but not all are available for each amp model. You dial to an amp model and then each effect bank gives you three different options for that model. But, it’s not the same effect available for each model. So … holy shit, more math … 16 amp models, times 4 effects each (including no effect) times the variance of the number of effects not in common with the lowest denominator of the square root of the weight of the … fuck it, I don’t know. There’s a lot of tones in this baby.
Yeah, that’s kinda why I don’t step into that area. So much…More, as you say. If I was gigging steadily or recording, I suspect I would’ve taken the plunge years ago…
And while rebuilding Tele’s and Strats, I always thought using a metallic paint AND a pearl pick guard was too busy. I always suggested one or the other, but never both.
True Confession: This is painful for me to say, but I still think the Martin D-100 is too busy with all it’s inlay work. Just because you can do something doesn’t mean you should.