Flea Bass DVD Lesson

hi everybody I'm free and I'm here to give you a very first bass lesson I'm very pleased to do it too well we'll start with the base itself this base is a free base which is a mighty fine base a base is made up of a few different parts firstly we have the body which is a big good slab of wood which makes me happy nice big slab of wood and we make sure that the wood that we get at flea base comes from farmed wood and comes from sustainable sources which is very important to me so we have the body for the base then we have the neck of the base which is this big piece that juts out here and on top of the neck we have a fingerboard which is made out of rosewood and it's a nice fingerboard for pushing your fingers on and in the fingerboard we have these these vertical pieces of metal that go along the fingerboard here and they're called frets and if you press down on them in between any particular fret it makes different notes because it changes the length of the string which in turn makes the note higher or lower so if you play with your hand down your feet with your finger down on this fret and you play this note which happens to be a B you have to be because the string is this long but if you move your finger up and the string becomes shorter because of where your finger is then the note gets higher and so if I go from this be all the way up an octave to this B it gets higher so we have the body we have the neck we have the fingerboard and we have the frets at the end of the neck we have this white piece of plastic which is called the nut and the nut basically keeps the strings in place they sit in a proper place on the neck and after the nut we have this whole other piece of the bass which is called the headstock and in the headstock there are four tuning pegs each one corresponding to a different string if you turn the peg in either direction it will make the string higher or lower and the idea for the conventional tuning for the bass is to tune the string so that the notes are each the strings are each a fourth apart e a D and G which is how you do the traditional tuning for the bass guitar is and speaking of the strings these four strings the lowest one is the e the next one is the a the next one is the D and then the G e a d g a d g um okey-dokey then when you come down here to the other end of the bass here on we have things we have this black rectangular black plat fin which is the pickup and the pickup takes the when you strike the fingers with your string it turns that noise into an electric signal which then travels through the electronics of the bass and through this chord all the way through to that gallien-krueger amplifier over there and makes a sound so you need to pick up – to amplify your bass and without amplifying an electric bass not too many people are going to hear it so you need to pick up then the strings go into this this piece down here which is called the bridge and the bridge serves to anchor the strings to the bass and to serve to adjust it there's those little screws in here which you can adjust with an allen wrench which adjusts the height of the strings on the neck which is called the action different people prefer to act in different ways depending on how you like to base to feel how you like it to sound and that's something that kind of comes with time of playing a bass for a while you find out how you like the action and and you adjust it you know accordingly I flee bass we're doing our best to adjust it into a really nice mellow way to play the bass which is how I like it I like it pretty low and pretty easy playing I don't see any reason to make it difficult to play I like it to be easy to play and the string you know the strings you go into the bridge there then there's these four holes in the back when you string the bass you actually you feed the string in and through these holes and then you bring them bring them out and bring a lot for tuning pegs and I think later on in this this DVD will show you how to string the bass the back of the bass here also has this this orange piece here which which covers up this cavity this hole in the back of the base which gives you access to the electronics of the bass which is not something I think you'll normally need to get – then we have this dis orange round piece here which is the pickguard to pick card through time I serve to protect the base from from any scratches when you play it with a pic but um personally I'm not worried about scratches I don't know about any of you out there but for me a little scratch little weather and gives the base little soul so so the pickguard mostly serves as an aesthetic piece so we designed this FLE base to make it look cool and I really like the way it looks we have these these two knobs here one is the volume knob and as you notice if I play the play a note you can get louder if I turn up the knob or quieter if I turn down the knob so this is the volume knob and then we have here this is a tone knob which at its lowest point gives it the lowest end sound and at its highest point gives the highest end sound so it's something you fool with and find a sound that you like if you see if I play this bass line here with it all the way down it'll be a very low muddy sound like I'll play a reggae bass line which is there you know for a reggae type of sound you want a real bottom II sound but then if I turn it all the way up um it'll be a more high-end II sound which would serve a different purpose depending on what you want you know I use my tone knob at all different places depending on the sound that I want to achieve oh and then we have a hole here in the base which is your input for your cord which has a jack on the end which you stick in the hole to make the connection happen on the flea base we have our input here on the body of the bass so it's nice to have a cord that has a a 90 degree angle like this as opposed to one with the jack coming straight out at the end because it's a little bit more troublesome when you have it like this and you have a 90 degree Jack like this one that comes out this way and put it in there's very little it's it's very streamlined um I think it's a good look and it stays in doesn't break solid it's Rocking you're ready to go oh then we have the this little piece here which corresponds with this little piece here which are the strap holders piece of the part did hold the strap on and if I had a strap I'd be holding it on um and that's about it that's the flea base and just about all bases are made up of these these parts to varying degrees and that's the free base it's a good base okay so we're going to show you real quick how to string the bass which is something eventually you're going to have to do your string will break your strings will get old you will need to put new strings on at one time or another and if you like me when I first started playing the bass I really loved to string my bass and before I ended up being a big rock star and having people string it for me I am really enjoyed putting on a fresh set of strings and it's a good feeling thing and you know some some guys like they really like their strings to be very very old older they get they get kind of a really warm dead thudding kind of sound which is which is a which is a beautiful sound and when some people like I'm really fresh or they're really snappy and 20 all the time once again this is a matter of personal preference I like both for different things depending on what I'm playing but in any case I took off the e string so I can put it back on and show you here's the E string on one end it has this little knob which ends up down here at the bridge and the other end it just the string just stops and it has this red cloth stuff on it and that ends up down here in the tuning peg so what we do is here's the e string missing right here behind here is the corresponding hole on the bass which is right here you take this this end of the string you stick it in the hole just whack that baby in there pop that baby in there heat it through goes in then take the string out you see it's come all the way through make sure it's all the way through then you pull it down the neck and you see that's where it will go right there on the neck then you take this end and you insert it into this part of the tuning peg mechanism right into this hole now let me feel okay it's in there solid then you bring it out along the side you wrap it around once clockwise and if there's if there's too much string where you have to wrap it and wrap it and wrap it around several time that means you have too much string and you need to cut a piece of the string off at the end which you can do with like a hard pair of like a cutting plier type of things or you can just bend it and and keep bending it over and over again it'll break off but anyways you put it on there you wrap it around um clockwise always clockwise and then you turn the peg counterclockwise to tighten it so you got it in there you tighten it tighten it tighten it up and as you tighten it then you should going to lay the string down in the nut where it's to its corresponding place on the nut there so it'll it'll sit on the neck the right way and you tighten it up until it until it achieves its appropriate tension and then soon you'll be ready to rout but once you put this the string on there um you're going to have to tune it since you just put it on it's not automatically in tune you have to make it be in tune there's different ways to tune the easiest way in the beginning is to buy yourself a little electric tuner um even though I never had one when I was a kid but but that's the easiest way because you just plug it into the tuner and it tells you it Tunes it for you basically but what I'm going to do it or you can tune it to a piano or any other instrument or record or anything that you know has the right pitch that you want to tune to in this particular case I'm going to tune the e string to the a string which has already been on them which is in tune because as you can hear the a the D and the G which you've been on there are in tune together they play together in a nice tuning but you see if I add the E that ease a little out that he's way low so we're going to need to bring it up and what the way to tune to another string is if you go to the fifth fret of the string directly above it that will be that would be the note you can just then you play the harmonic and you hear that here going LOL woah couch is that that until that wah-wah stops and it balances out and it's going wow wow wow wow it's because the two frequencies aren't together so that they're clashing and they're going well olive oil and because they're dissonant and as you I turn it up that that that up and down waves wave thing evens out it becomes level and we go from dissonance to consonants and we're in tune so I tuned it to the strip to e string to the other strings that were on there which were already in tune but you can tune to any pitch that's in tune and you will have that same low a while sound when you get close and then you just tune it until the the fluctuations disappear and it becomes even and you get it in tune but you know tuning it takes a little while to learn how to do it it's not something you're going to do right off the bat but you got to figure it out you learn how to do it a tuner is the easiest way but to be honest I recommend not using a tuner and learning how to do it by your ear because even though it might be difficult at first it will take you some time to learn how to do it if you learn how to tune by ear you'll always be able to tune your bass quickly it'll make you hear music that much better understand music that much better and just be a much better bass player so a tuner is easier I recommend not using a tuner okay so now we're going to talk about the basic technique of playing the bass um the first thing I'd like to talk about which is the technique which I use most commonly and which is the most common technique for playing the bass is plucking with your fingers and the way that we pluck is is we have these two fingers that the first and second fingers and they alternate you want to do it like they're walking like this you don't want to play pluck with one finger over and over again or the second finger over and over again of course there are exceptions to every rule and you need to have rules so you can break them but but if you alternate with these two fingers that's how you pluck you're walking and you're not pulling the string with your fingers you're not getting underneath and pulling like that you're striking the string with your fingers and I recommend practicing just alternating with these two fingers like this on the E string for a while to kind of get the feel of it it starts to feel comfortable go up to the a string and you notice that I'm not playing I'm not pressing down any frets over here I'm just alternating first and second finger walking plucking in a walking style on each string then go up to the D string back down to the kitchen and just do this for a while start to get the feel of it you know the base is like anything else the more you do it the more it becomes part of you the more it becomes natural the more the base just becomes an extension of who you are as you do that you can kind of make up exercises your for yourself like twice on each string three times on each string and if that's how you do but you always want to keep alternating the fingers until you know after a while you start to get fast and just to you know you can get faster you can get slower one other one other thing about plucking is though the way that I do it is it was the two fingers alternating there are many great bass players especially kind of a more heavy rock bass players like you know geezer butler Robert Trujillo these guys that play real heavy bass they don't just use these two fingers they often use the third finger and in some cases even the pinky but so instead of like going like I'm alternating sometimes it there's a galloping technique well they will use the third finger as well and go it's not something that I normally do but it's a technique that is definitely worth learning the main thing is to get comfortable with walking and with alternating your fingers and with not pulling up on the string but striking the string there you go that's plucking the bass and that's what plucking is next thing I'd like to talk about is slapping which is a style that I think was originated by Larry Graham of Sly and the Family Stone but I'm not really sure who started it he's he's famous for it he's the first guy that's famous for it on the electric bass anyways and once again this is a technique that has done several different ways and I have a way that I do it my flea way but um I recommend you know the deeper that you explore the bass and deep review explore the technique that you not only develop your own style but but um study the styles as many people so you can see what is comfortable for you but the basic technique is is you strike a low string with your thumb with the bone that's in the middle of the of your thumb right here and say if I'm striking the e string with my thumb you go you don't go like this you strike it it's like you just pop it you don't you don't lay your thumb down on it like this it just will stop and you don't try to go like that or spike it in any which any which way from any side you just pop down like that just a quick little pop and so you start just get comfortable doing that basically that's all just a minimum fooling around but it's basically all just like that and as you start to get more comfortable and you start to find rhythms that appeal to you that's how you do it and the second half of this technique is the pulling up there's you pop down with your thumb and then you pull it up with I use my middle finger right here and I'll go on the D string and I'll make an octave between the ease which are just note in this note I will slap down with my thumb and then with my middle finger it will go underneath to D string and pull up like this pulling up like this if I'm not even span and together and once again cactus just showing up and finding that comfort zone how that feels for you so then you pop down with your thumb and then pull up with you with your finger if you do it together um you started you start to learn how to do it you start inventing exercises for yourself and baselines that you like as your knowledge of the base and and and you know the your knowledge of the harmonics and the theory of music increases you'd find different ways to do it but a technique that I have always used and the way that I learned how to slap the bass as I started making an octave like this and I started playing a rhythm that goes like this I go and I just kept doing that until I started to I did it over and over and over again until I began to find comfort and to find strength that there's which is what comes from practice is you start to find comfort and strength and that's what you need to be a good musician so and you know eventually you get faster and faster than you slow and the exercise that I do and what I still use to warm up every time before I play a show is I start doing octaves like that and I start to move the octaves up and down the neck playing octaves here with my left hand which is something that you know you're going to learn as you study the bass and I go slowed it down then I go down them and that's how I develop my particular slapping technique um which you know I do it my own way I have my own way I'm not saying it's the only way but that's how I do it and that is the exercise that I developed for myself which is kind of the building block of this style that I developed is my free way of doing it so that's slapping the next technique that I want to talk about is picking which is when you play with a pick and I don't actually have a pick with me here today because I just don't have one but I do have a quarter and it's been brought to my attention that Chris Squire uses a quarter and he's a good bass player so basically you know that you play with a pet here if I'm if same thing you you have downstrokes where you're holding the peck or the quarter or whatever it is you use and I'm just going out I'm hanging it down get down then you have upstrokes and you have downstrokes and upstrokes together and that's playing with a pick okay um in terms of your left hand with playing the bass that these four fingers number one number two number three and number four are going to be used to press down the strings in between different frets in order to create notes your thumb should sit on behind the bass and you don't want to tilt it like this you don't want to have it like this you want to be like this and sometimes it's easier to kind of like get it in weird positions but you've got to try to want to keep your thumb at a 90 degree angle from the ground or didn't ya I mean depending on that's a few bases at a at a horizontal angle but you want to try to keep your thumb straight up and down to the neck just like it's one of the frets and then your fingers should stretch out covering these four fingers should cover four frets one two three four and I understand that in the beginning it's difficult you don't use hard to reach with your finger and I don't have particularly big hands but over times you over time your hand just starts to stretch and become limber in that way from practicing a good exercise to achieve this with your fingers is the chromatic scale the chromatic scale CH ro ma T I see chromatic chromatic means you're going by half steps would be to go like this press with your first finger on the first fret your second finger on the second fret your third finger on the third fret and your fourth finger on the fourth fret and so if first you play the open string which means you don't have your fingers pressed at all just to open string just to e string and then you play your first finger on the first fret second finger on the second fret third finger on the third fret fourth finger on the fourth fret and there you go and then you can go back out my finger third finger second finger first finger so all together it's like this open first second third fourth third second first open and just practice that for a while this will make your fingers strong and it'll get your hands in the right position to be able to play a multitude of great bass lines as you go on next go up to the a string and do the same thing on the a string open first finger second finger third finger fourth finger third finger second finger first finger open maybe I'm going too fast slow in the beginning I'd hurt your finger right here your hand might cramp up a little bit just take your time for starts hurting stop and then start again over time it will become easy if you keep at it this plane takes a lot of practice go up and do it on the d-string three times and up to the g-string be sure to be patient and take your time when you're doing these exercises do them slowly try to get a good sound you don't want to get a buzzing weird sound try to get a nice hole full tone and take pride in your sound it's very important and no matter what lots of different people could play the same bass but everybody has a different sound it depends on your nervous system depends how hard you hit it depends what type of person you are but everyone has a different sounds one guy can go like this that sounds one way another guy can go like this sounds another way everyone's got a different feeling and everyone has a different way but but so you want to concentrate on your sound and get a full sound and work that chromatic scale to make your left hand strong put them all together um the chromatic scale is a great way to exercise use all your fingers and and get strong and over time you'll move the position of your hands so if we call this first position because your first finger is on the first fret and if you went up to here to the fourth fret you could call that fourth position because your first finger would be on the fourth fret and you would do the same thing over here okay so um but we're going to start off for this lesson staying in the first position and doing like we just did open first second third fourth third second first open and keeping yourself in the same position not sliding your thumb around that you keep your thumb in at first position keep your hand in that position and it's difficult to stretch at first but over time it will become easier and you will begin to rock now we're going to learn something that is a little bit of music theory a little bit of bass technique and kind of the foundation for Western music that we all listen to and know and this this this is this this particular thing I'm going to show you what's called the major scale the major scale starts on one note and goes up to another note which is an octave apart of it don't don't baby faso lado don't ome house hola Tito is the major scale and it's the foundation of western music and the way that you play the major scale on this particular scale is in the key of a the first note is an a it which is also called the root note so if you're in the key of a and you're paying an a major scale the first note is the root and the root is a and I'm playing with my second finger on the E string the a and then with my fourth finger I'm playing the B the first finger then again moving up to the second string to the a string playing the C sharp then my second finger d my fourth finger E my first finger up to the D string playing an f-sharp third finger on the D string playing AG sharp and the fourth finger on the D string playing the a which is an octave above octave meaning eight eighth notes above the original a that I played down here and so if we have a good shot of this here this major scale is first finger fourth finger up the next string first finger second finger fourth finger up and up to the next D string first finger third finger fourth finger and then we go back down playing a fourth finger again I'm a D string and the third finger then the first finger moving down to the a string the fourth finger the second finger the first finger the fourth moving down to the E string the fourth finger and then the second finger again yeah we don't need to this is really this is a pattern which is a good pattern to get used to playing and as you learn more about theory and understand more about how notes relate to one another it will increase in in value and you'll have more depth of knowledge about what we're talking about here but for now for your first lesson and it is very advanced for a first lesson but I've never one to estimate anyone's intelligence we go okay notice that my hand is staying in the same position when I play this my thumb back here is right behind a kind of behind where the second finger goes and you know kind of in between the first and second finger but my thumb is staying in one position and so my hand is here which is which is in this position and it's not moving I'm not sliding my hand around keep my hand in one spot and I'm playing the major scale um take your time do it slow and you'll get you'll get it second finger fourth finger first finger second finger fourth finger first thing finger third finger fourth finger then starting at the top and going down again for theatres third finger fourth finger second finger first finger fourth finger second finger and so this is something that you can move all around the neck the fingering and position will be the same no matter where you play it on the neck I play it here on the a like we've been doing we know what it is but if I move it say down here and I put start my second finger on f-sharp here then we're gonna go same thing first finger finger finger second finger finger finger finger forcing went back down doesn't matter where you play it on the neck as long as your hand is in the position the note that you start on will be the root note of the scale that you're playing and it will be maybe sowlaty don't do it all the way up here uncle back down to a where we started another way to think of the major scale and this is something that can be very helpful is if you attach numbers to the notes um the eighth notes that we're playing in a scale which are actually seven notes because the top note is repeating the first note again but if you go one two three four five six seven eight eight seven six five four three two one then you can begin to think of the notes on how they relate to one another say between one of the most common and consonant notes that you can put together if you're in the key of a and you want to play it make a baseline and you know that you're playing in the key of a major you know that you have this major scale to work with one two three four five six seven eight eight seven six five four three two one and if you play say you want to make up a bass line you could go between one and five you can go see that's you in the Aachen or the eight and that's just one and five and eight which is the same as one so it's really just two notes and say you wanted to incorporate three and then we have one three five three one then you go but just just so you know when you think about all these these notes in terms of numbers then no matter where you are you can relate those same intervals between the numbers to any key that you are anywhere on the neck so if we have a major scale one four five six seven eight eight seven six five four three one addition between one and five boom-boom would be the same in any key so if I moved up here to see and I was playing a C major scale one two three four five six seven eight eight seven six five four three three one here and see I could go between one and five and that would be the same as if I were in a and the inch of the distance between one and five would be the same as the distance between one and five and in a different key and if you say like if you just want to if you're playing in this major key and you have this major scale which you should practice over and over again all of a sudden you have something to work with to be creative to create your own baselines so within this major scale and within these eight notes you could make up a baseline I know those are kind of corny baselines but I'm just trying to be very simple about it and incorporate these the notes that are in a major scale I mean there's a million different ways you could do it these are all I mean like for instance if I were just to play in the key of a major and only use the notes that are in that scale there's a million different baselines I could make there's a million different options the potential for creativity and what you can do is limitless now for instance if I were to take a major scale in the key of E which will be starting down here on the B string and the fingering is a little bit different because I'll be using an open string but it's the same thing oh but a Dada Dada one two three four five six seven eight I could play the bass line for under the bridge which is a Red Hot Chili Peppers song which which falls strictly within a major scale which is just okay and an a major you know there's a million things you could do this major scale maybe far so lucky don't 1 2 3 4 5 6 7 8 1 8 1 8 1 5 1 5 1 3 1 3 1 3 1 3 1 1 2 3 4 5 6 7 8 major scale learn your major scale I know I'm waffling on about it and I might not be expressing it as clearly as I would like but that's the idea and this is the way to do it there are a few different fingerings but this is a good way to do it it would be very helpful and very good for any bass student to learn how to play major scales as I just played it all up and down the neck over and over again so on and so forth the bass guitar is usually the lowest instrument in any band it provides the bottom for the band it's it's the warm sound it's the bed that everybody else sleeps on it is the support kind of the support for the rest of for the higher instruments to more melodic instruments and a lot of times the instruments to get more glory it's it's the support for them and the stronger that the bass can support all the other instruments the more that other guys can shine so something I'd like to stress and being a bass player is the spirit of giving us the most important thing to think and I think for any musician but I feel like particularly for a bass player often you know you're going to be you're going to be supporting a singer you're going to be supporting a soloist you're going to be supporting a melodic instrument you're going to be supporting all these other instruments the higher frequency instruments and so your job as well as like you know having good time you know your time being solid having a good a good feeling for rhythm which comes from practice and which comes from paying attention and studying music is really is listening to what the soloists are doing so what the soloists are the melodic instruments are the the more featured instruments are doing so the more that you can you can listen to what's going on with other instruments and not just stay focused in your own world and just playing your part over and over again which often you know the bass part might be a simple part but when you're listening to the other people that are playing and you're playing as your part as simple or as complicated as it may be the fact that you are listening and the fact that you were doing subtle nuances with your playing to complement the the higher instruments on the bed the better bass player you will be and the other thing that I like to say about playing the bass is playing the bass more often than not you're going to be part of a rhythm section which means you're going to be playing with it with a drummer and you and the drummer are going to be the rhythms and listening to the drummer is the number one most important thing you can do as a bass player when a bait 1 when the when when the when the drummer hits his bass drum you want to hit your bass note in the center of that bass drum hit and that's something that I've always strive to do is to be inside the middle of the drum hits and each each note that you hit if you can manage to if you Hank when it when a snare drum on a drum set goes pop the in that pop there are two peas in an O the pop and if you can be playing in that oh where you strike it well you're right in the middle of that note to me that's the ideal and that's what I always strive for you want to make everyone else sound good as a bass player you want to make the drummer sound like he's the best drummer in the world and you want to make everyone else in the band make them shine so I got a basketball team the point guard a good one makes all the other players around him good and I feel like as a bass player you're kind of the point guard in a band in a traditional rock band setup we're talking about but but into any traditional band setup as a bass player you're laying the foundation you're making the bed you you are that you are giving the ground for everyone else to dance upon and you have to make it solid your rhythm has to be good and you have to be listening and paying attention to what everyone else is doing and doing the best job that you can to to create the atmosphere for everyone else to be beautiful and that that's you know as how I see it that is the role of the bass in music of course there are you know many exceptions and myself being a total ham and a ball hog I often you know take the lead and solo and make a spectacle of myself but but really the main context in which I view myself as a musician and which I and when I see bass players that I admire they even the ones like the great ones such as like you're the great bass player Jay Jamison James Jamerson who played on most of the great Motown hits or even the great soloists like Jaco Pastorius who revolutionized the bass guitar well they're there they're always they even like you know when they're just playing regular bass lines they're doing subtle things that make them great and the reason that the subtle things that they do make them great is because they're not doing them for the purpose of showing off or for being fancy or for doing it they're doing it because they're reacting to the things that are happening around them and that's why to be a great musician any type of musician listening to everyone else is the most important thing that you can ever do and as a bass player it is just crucial you know and and the more that you play the more that these things start to become automatic you start to internalize them and you start to react without even consciously thinking about it like thinking oh the guy just went wheedle whips I'm going to go with a little it's it's just a matter of listening and paying attention and and um after a while you become one with the music and the music becomes you and it becomes like breathing and that's what it's supposed to be so you know my only other advice as a bass player is to be yourself can love what you love don't worry about what what um what anyone else tells you to like or what school to like or anything but to embrace who you are every single person and every bass player has their own bass line inside of them every one and it's a unique bass line and to play and to practice and to play and to study in service of finding the uniqueness that is inside of you so you can express it as a bass player and that's my advice about the bass guitar you

27 thoughts on “Flea Bass DVD Lesson”

  1. You are both informative and an excellent teacher! Thank you: Iโ€™ve always wanted to learn how to play this style. Superb!

  2. I genuinely love how is shows you how to string a bass. He's not patronising at all. He isn't the world's best bassist by a mile but he's certainly not the worlds most famous bass player who is a total idiot.

  3. All the funny comments aside, this is probably the best tutorial i have seen for bass, it isn't technically perfect and stuff, but it is just full of soul, admiration and this whole video gives me courage and warms my heart, thx Flea!

  4. Just ordered my first bass after 6 years of guitar, im so excited. I love the bass but never decided to get all the gear until now. Cant wait

  5. Seriously? Why can't you just post A FREE TAB on the screen? Why so selfish? Greatness is nothing if one is as selfish as the world.

  6. Flea, you beautiful and lighting soul, thanks for the best first lesson ever, thanks for your inspirational energy, thanks for your music, thanks for your love.

  7. โ€œI donโ€™t actually have a pick with me here today because umm… I just dont have one.โ€ this is why i love flea…

  8. This course is a bit weird because it's beginner, intermediate and advances at the same time. And he doesn't very clearly say which is beginner, intermediate and advanced, in all the stuff he does.
    Overall it's rather good, but he also kind of mentions a lot of stuff without explaining it, I hope it doesn't confuse anybody.
    Anyway, still pretty cool to see him play and explain stuff

Leave a Reply

Your email address will not be published. Required fields are marked *