jazzyvee

Ranking Roger from the beat lived a few streets away from me and we used to hang out when we were teenagers. [url="http://en.wikipedia.org/wiki/Ranking_Roger"]http://en.wikipedia....i/Ranking_Roger[/url] Stephen Tin Tin Duffy was in my year at comprehensive school when knew each other but were not mates as such. [url="http://en.wikipedia.org/wiki/Stephen_Duffy"]http://en.wikipedia....i/Stephen_Duffy[/url] Bassist Roger Inniss & I became friends sometime in the late 70's when his best mate was drummer in my band. We are still friends today but these days I only tend to bump into him at gigs. He always was a superb bass player and back then he was playing all that weather report and jaco stuff. http://www.rogerinniss.com

One of the things I've noticed about playing outdoor gigs is the strings feel different to when playing indoors. For some reason they have a more tacky abrasive feel to them and hence your plucking fingers tend to drag rather than slide off,and your fretting fingers require more effort when you need to slide between positions. Both have the potential to affect your timing. I posed this situation on the alembic forum last year sometime when I was doing a load of festivals and Jimmy Johnson, advised me to rub my fingers on the outside of my nose in between numbers as this will make them slightly greasy and help with playing. Usually this works but sometimes when you are hot its a bit too greasy and you have the opposite problem where your fingers move too quickly off the string. Just be aware of it anyway.

I've done a number of festivals that size in recent years in fact did one this weekend and they provided an Eden WT800 with 2, 4x10 eden cabs. In my experience, even with big cabs behind you, outdoors you don't hear them as well as you would think as they are usually too close behind you and so the sound disappears away from you and not reflected back so that even with an 8x10 you may still need a good monitor mix to hear yourself properly. If I can I usually ask the stage guys to push the cab at least 8 feet behind me which gives me a better sound. The headline band on the festival I was playing, had a riser for the bass player and he had the bass rig in the left front corner of his riser with the speakers facing in towards him and not out towards the crowd which I think for those gigs is a much better way of hearing your bass properly. But I doubt whether many people would get to do that.

[quote name='julietgreen' timestamp='1405975593' post='2507208'] Re the earplugs: I've got a great pair of 'musicians' earplugs' that work brilliantly [i]when I'm not playing.[/i] In spite of the claim that they don't change the sound quality, just cut it down, I really find it difficult to play with them in. Perhaps I just need to get used to it. [/quote] I've been using the off the shelf musicians earplugs for about 10 years now but and since moving to bass i found them to be difficult to use as they don't attenuate the sound evenly and the lower frequencies are less clear making it difficult to pitch notes properly. However recently i bought some ACS custom earplugs and after a bit of a hickup with the first mould, I have a new pair which were made as an open mouth impression. These are far superior to the general non custom mould ones and are better at attenuating the sound in a more even manner so I can hear everything even cues from band members. However I do find that I still need a bit of more mids in my stage monitor to accurately hear my note articulation when playing reggae. Other genre's of music is not a problem as my tone for other stuff has more bite in the tone.

[quote name='rednose200' timestamp='1406058535' post='2507968'] I have owned and played many basses in my time, but I always seem to keep going back to my Rogue. It has that unique Alembic tone that no other bass can provide. Both live and in the studio it never fails to cut through the mix. Yes they are expensive, but in my opinion they are worth the outlay. There is not one dead note on the neck. Every note sounds perfect. Your technique has to be pretty decent though. It will punish sloppy playing. You must be precise with your fingering. It is sometimes quite noticeable when I let the odd friend try it. Usually Fender players actually. Ah well. Personally I will never part with mine, unless a higher end model comes my way. That said I'm not keen on Series models. Maybe the MK, but that's about it to be honest. Set up is also extremely important and they are prone to neck variations due to temperature and humidity. I do my own set ups and it does take far longer than other basses. The dual truss rods take a bit of getting used to when setting up, but if you take your time and have patience, you can achieve a perfect action as per your own taste. Anyway there's my two penneth. All best. [/quote] I'm no fan of the classic series large body style but if you like the rogues alembic can make you one with series electronics or you may be fortunate and find one used. [url="http://www.alembic.com/info/fc_gwathnar.html"]http://www.alembic.com/info/fc_gwathnar.html[/url]

[quote name='Raslee' timestamp='1405894144' post='2506322'] Avoid Precision verses Jazz threads [/quote] +1 with that and I'll raise it to "Avoid the boutique bass bashing threads too".

Did a great gig with Musical Youth at the Simmerdown Festival in Handsworth Park, Birmingham.

On the main stage at 15:45 until 16:30 https://www.facebook.com/simmerdownfestival

How was your set? For us there seemed to be a common consensus that the sound was terrible both front and on-stage. Apparently they had one guy doing both the on-stage monitors and front of house from two different locations and had to run backwards and forwards between the two places. Not an ideal situation. During line check, the sound guy came over asking if something was wrong with my bass because there was no sound through the desk. I played a few notes which came through the cab and pointed out that I was plugged through his DI box and maybe there should be a cable out of the back of it to the desk. We played well though.

It was marked up as a custom shop bass but I don't know enough about them to know if the listing is correct. Here it is. http://www.guitarguitar.co.uk/bass_guitars_detail.asp?stock=13072511573931 I actually don't have any desire to buy a fender bass. I am just trying to learn about different basses and how they sound to play so having the opportunity to try some top end Fender and a high end fender type alternative I took it. That said, the only one I've tried that i felt something with was the Victor Bailey model. Jazzyvee

I was in guitar guitar yesterday afternoon and decided to check out some basses, and decided to have another go at a Jazz bass so went for the custom shop model and for contrast there was a new John Suhr jazz bass there so I thought i'd give that a try too. 20 minutes later I still wasn't taken by either of them. For some reason I couldn't get a sound to die for from either of them they just sounded ok. Maybe there is some truth in the idea that a lot of the sound is in the fingers as other people I hear playing jazz basses live sound really good. Jazzyvee

Captain Bassman, you have a good catch there. I don't gig that often with my series basses and that is mainly because most of the gigs I do, don't require the full spectrum of the bass and the backlines I get, usually Ashdown, frustrate me because they stifle the sound of the bass. So basically I prefer to take it when I do my Jazz funk gigs and I'm able take my own bass rig or where I know in advance the back line is going to be something I like. There is lots of fun to be had working with the filters. I've spent many years listening to stanley clarke and his alembics so he is my tonal reference and trying to get some of his tones on my basses has helped me understand which knob to turn and which way, in order to get the tones I now need for the music I play. If I can give you a tip I use which helped me with the CVQ it's this. I conceptually divide the travel on the CVQ into 4 points one being off and 4 being fully on, then between that find two more positions roughly equi-distant apart. Then when you find a filter position you like, turn the Q to each of these 4 points in turn, and listen to what is happening to the sound and refine the sound around each point with filter and Q. I found this was useful because you get to understand what is going on at 4 easily repeatable points and eventually getting to specific tones quickly is often a matter of setting the Q at one of the points, adjusting the filter then fine tuning the Q or filter as needed. Another thing to remember is that the effect of the Q is applied more to the attack of the note and less to the sustained note. Jazzyvee

He is still and always has been a great inspiration for me as a musician. Hearing him on bass made me want to become a musician. Now I'm in a professional reggae band and we do a couple of wailers tracks and always jam on his bass lines at sound check which gives me the chance to capture some of his sound live. I've met him a few times and talked bass with him. He's a great bloke a man of few words but inspiring nonetheless.

[attachment=166853:IMG_4695.jpg]Did a cracking gig at the Jam House in brum last night with my NotStrictlyJazz Quartet. We did covers of jazz-funk tracks by Stanley Clarke, Victor Bailey, Marcus Miller, Jeff Lorber Fusion, Grover Washington Jr etc. and it went down a storm.

[color=#000000][font=Verdana, Arial, Helvetica][size=1]We played a cracking gig at the Jam house in Birmingham last night with my band. Loads of Jazz funk from guys like Stanley Clarke, Victor Bailey, Marcus Miller, Jeff Lorber, Grover Washington Jr. I hope we get a call for another there. [/size][/font][/color]

[quote name='MothBox' timestamp='1405329711' post='2500728'] [url="http://www.hotoneaudio.com/nanolegacy/thunderbass.html"]http://www.hotoneaud...hunderbass.html[/url] Saw these in a local shop recently, tiny, but not convinced they'd really get a decent volume from them. [/quote] True. I just checked out some you tube video's and they sound fine but sure i doubt if it would give much on stage volume above the guitar and drums. However it's probably cheap enough to keep as a backup in your bag and would probably sound fine if you used it with mic'd up cab.

I played through a Mark bass, and a few ampegs over the past year and so I'd have one in a heartbeat if it was practical but: a) Even if I was strong enough to move one around, it won't fit in my car. most of the gigs we do with my main band have a back line provided so occasionally a decent 8x10 or 6x10 is provided.

So you have schedule as to what the lineup is and what is going on there as I can't find anything on line.

I know alembic owners on their forum speak highly of these basses and if you get some alembic activators for those Aria basses you will get a much closer alembic sound. http://alembic.stores.yahoo.net/axybtacpic.html They also come up fairly regularly on ebay. Jazzyvee

I'm playing with Musical Youth at the Simmerdown Festival in Handsworth Park Birmingham on 20/07/2014 https://www.facebook.com/events/1458204427757165/ https://www.facebook.com/musicalyouthofficial

I'm playing with Musical Youth at the Bedford Riverside Festival on 19/07/2014 https://www.facebook.com/events/541260775993319/ https://www.facebook.com/musicalyouthofficial

[font=Verdana, Arial, Helvetica][size=2][color=#000000]I recently contacted the UK Musicians Union about the implications of CITES on travelling abroad with instruments which include exotic woods that may have restrictions on their movements. I was curious because there is a possibility of some international festival dates for me next year and I want to be sure I can travel to and from here with my bass. [/color][/size][/font] [color=#000000][font=Verdana, Arial, Helvetica][size=1]Here was the response taken directly from the email I got in response. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]================================================================== [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]Do you have Ivory or Brazilian Rosewood, Abalone or other materials built into your instrument? [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]Are you travelling overseas with your instrument? [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]If so, there are certain precautions you should take to protect your instrument, especially if travelling to the USA . [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The Convention on International Trade in Endangered Species (CITES) [[/size][/font][/color][url="http://www.cites.org/"]http://www.cites.org/[/url][color=#000000][font=Verdana, Arial, Helvetica][size=1]] has for some time now been concerned with the illegal trade of endangered flora and fauna such as Brazilian Rosewood, African Ivory, Mother of Pearl and Abalone to name but a few. These species have for many years been used in instrument manufacture. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The US Fish and Wildlife Service (USFWS) have introduced regulations that allow for instruments with certain endangered species to be seized by authorities when musicians have been entering or leaving the country when working. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]This has raised grave concerns for the American Federation of Musicians (AFM) and the American League of Orchestras who have been lobbying hard for an exemption for musicians. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]Thanks to their efforts, the USFWS issued an amended order making it possible to travel with instruments made, sold or transferred before February 2014. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The key thing here is that while this exemption now exists you still need to be able to prove purchase, transfer details of the instrument and have supporting documentation. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]You can read the original order and the amendment here [[/size][/font][/color][url="http://fws.gov/policy/do210.html"]http://fws.gov/policy/do210.html[/url][color=#000000][font=Verdana, Arial, Helvetica][size=1]] [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]CITES has recommended the use of an ‘Instrument Passport’ which, when drawn up and approved, will identify when the instrument was bought, and should include accompanying purchase/transfer documentation and identifying photos of the instrument. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The MU has discussed this issue with International Federation of Musicians (FIM) and employers across Europe. A joint letter is being drawn up asking that clear concise information from CITES and the US Government be issued as to how musicians can obtain these 'passports'. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]We have also spoken to the AFM and they advise having both a permit from your home country and a permit for the country to which you are travelling. If you are travelling to the US for a single visit, a permit may be obtained here [[/size][/font][/color][url="http://www.fws.gov/international/permits/by-activity/musical-instruments.html"]http://www.fws.gov/i...nstruments.html[/url][color=#000000][font=Verdana, Arial, Helvetica][size=1]] [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The MU contacted the UK authorities over this issue. We have been advised that until such time as the internationally recognised ‘instrument passport’ is available, UK musicians can apply for a CITES Permit as an individual or a group here [[/size][/font][/color][url="http://www.defra.gov.uk/ahvla-en/category/forms/cites/"]http://www.defra.gov...ry/forms/cites/[/url][color=#000000][font=Verdana, Arial, Helvetica][size=1]] [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The form you require is FED0172. They have confirmed this form will be recognised by overseas authorities and provide you with the protection you require. However, we would advise that if you have any concerns you do contact them directly. They are best placed to answer any questions you may have. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]The Union is working with other international musicians unions and employers on your behalf to try to make this process easier and more transparent for musicians. We will update this information as necessary. [/size][/font][/color] [color=#000000][font=Verdana, Arial, Helvetica][size=1]==================================================================[/size][/font][/color]

There is a difference in the tone of any note of the same pitch played in different positions on a bass and also guitar. It's not a problem it's just physics and as is said above some players use that knowledge to their advantage. I know I do. If you keep the same string gauge the B-string on a 34" scale bass will sound and feel noticeable different than on longer scale 35" scale as for the same gauge of string the 34" will feel slightly looser. On my basses anyway the EADG strings have a very similar feel when played and the B string feels different when plucked. When I had my first 5 string it came with .125 on the bottom and I changed it to .130 and it feels much better. The other thing is you learn to compensate for this difference with your playing when it comes to playing notes on the B-string so that eventually you get a good tonal balance.

I'm doing a gig with my NotStrictlyJazz quartet at the Jam House in Birmingham on 15th July 2014 http://www.thsh.co.uk/event/jazzlines-free-gigs-delano-mills-and-not-strictly-/ It's a mixture tracks including Stanley Clarke, Marcus Miller, Victor Bailey, Grover Washington Jr, Jeff Lorber. Guest vocalists are: Dennis Seaton(Musical Youth) and Hungarian singer Katalin Voros It's a free gig... well free to get in but we are getting paid. :-) Jazzyvee

How are you getting on with the slapping Roxy?