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?

Mine was listed there for about a year before I bought it. It was on commission sale but didn't get sold. (The price was too high). I eventually it was removed from there and listed privately and a guy from the alembic forum who knew I was wanted it, found it and sent me the link. The rest is history. The filters do take a while to get used and with the series ii you have the cvq to deal with also. If you haven't done so already I can highly recommend the alembic forum as a great resource for all things alembic. These basses are not one trick ponies and whilst they sound great it can be a challenge to move confidently between sounds.. Here is a link to the series I & ii FAQ http://alembic.com/club/messages/16271/16308.html?1361485906 Have fun. Jazzyvee

Nice bass, that looks like one that was on sale at Station Music. My series I is also burl maple but has an Europa body style. Is it your first alembic?

[quote name='obbm' timestamp='1402382715' post='2472726'] Sad Happy. [/quote] Is that a perspex Ramp?

Most of the gigs I've done in the last couple of years where a back line has been provided have been Ashdown rigs of various types, whether that be big festivals or venues, and I can say that from my experience I have not enjoyed playing through any of them. All have given me a distorted/overdriven sound regardless of what bass I've used and I don't play loudly. The only time I get a reasonable sound is when I use my own pre-amp directly into the return socket of the head although many times that socket has not been working or it's the cabs that are trashed and causing the distortion. I think a lot of venues use them because they are cheaper than the traditional Ampeg rigs that used to be on the festival circuit, and if it's a rock band they are not looking for the same kind of clean tone that I want from playing Reggae so they don't usually have a problem with the cab.

I love the seemingly old fashioned idea of regular band rehearsals. One of my bands we gig a couple of times per month and so only rehearse if we have new material to learn, we have a dep or when there is a long time between gigs and we have a high profile gig. With my other band we gig about 3 or 4 times a year so rehearse only when we have gigs because the three other members of the quartet are full time pro players and are always busy. However when we meet up for rehearsals we really enjoy it and plan to rehearse regularly but somehow our diaries always seem out of sync. Generally I find that many musicians I talk to do not want to rehearse unless there is an impending gig. Whereas my preference would be to rehearse regularly regardless of the gigging situation so that the band gets amazingly tight as a unit.

I'm gonna try to get tickets for the Leeds Gig as I have a gig on 15th so thats out and although London would be a good place to go the uncertainty of finding a close parking space is a put off.

I still have a RCL10 Compressor Limiter that i used back in the days when I had a Tascam 244 Portastudio. Not used it for a while though I last used it in my guitar pedal board and it was great. Jazzyvee

Victor Bailey Jazz Bass. [url="http://www.victorbailey.com/gear.html"]http://www.victorbailey.com/gear.html[/url] http://www.edroman.com/guitars/fender/fender_artist/victor_bailey.html

That Lux like you are Wrights but I was hoping to use them as Simple Pears but that may sound Lush, but then, that's Lifebouy.

I use D'addario EPS170M on my 30.75" short scale bass as regular short scale strings are too short. I love bright sounding strings as I can tame it where necessary from the bass and these they give me and the tone lasts for ages. So you could try the D'addario EPS170s short scale strings. [url="http://www.thomann.de/gb/daddario_eps_170s.htm"]http://www.thomann.d...io_eps_170s.htm[/url] Have you decided whether you want roundwound or flatwounds? Jazzyvee .

I posted that wrong and the quotes didn't show up so it's wrongly attributed to me. My bit on there is the last paragraph regarding the alembic forum, it was originally posted here by Bass-driver.[color=#A4A4A4][font=helvetica, arial, sans-serif][size=3] Posted 07 April 2013 - 12:01 PM[/size][/font][/color][color=#282828][font=helvetica, arial, sans-serif] Ahhh, Alembics This is my baby - a bass I intend to keep forever: It's an Essence 5, "post-facelift" version. I absolutely love it. The tone is uncomparable to anything else - it's clear like a bell! It doesn't work everywhere, it needs more room in the mix than Fender basses for example, but when you know where and how to use it it's like nothing else on the planet I've had some problems with it (the neck is VERY meteopatic, the volume control went south - it's disconnected atm - and good luck finding the jack input replacement, lol) but the sound and feel more than makes up for the truble. I've recorded an album and used this beauty on most songs - it worked just fantastic. It's a keeper. [color=#7C7C7C][size=3] [b]Edited by Bass-Driver, 07 April 2013 - 04:30 PM.[/b][/size][/color][/font][/color]

What effect does the pickup aperture have on the sound. For example a single coil Jazz bass size compared to a singe coil soap bar style pickup. Obviously it is seeing a larger portion of the vibrating string but what does that mean in terms of the quality, type of sound etc. jazzyvee

I had some Custom moulds made at the bass show in London this year. They were really good but If you do any singing, smiling or talking on stage it is worth asking for an open mouth mould to be made as they fit a bit more snugly. The ones I had done leaked sound in round the sides of the insert if I smiled or laughed on stage. Something aways happens to make me smile. The Custom IEM company have been great in organising for me to have a fresh open mouth mould taken. Hopefully all will be well this time. Oh as for the off the shelf one's, I used those previously and for guitar i found they were fine but for bass playing it didn't give me enough balance in the frequency spread for me to hear my pitch properly or manage my volume with the band. The soft foamy 3M Yellow type are only a last resort if I forget mine. I use them more for listening to live gigs that are a bit too loud. Jazzyvee

Last year I bought a new Atlas Shark Bass from the Northern Guitar Show at Aintree, that was hand made in Thailand. It came with the Artec SE3 electronics and like you say it sounds ok. Jazzyvee

A few years back I bought a Peavey Micro bass amp to use for practice at home and these quiet rehearsals in front rooms, and I loved the way it sounded with my bass. It also sounded great with my strat and yamaha electro-acoustic guitars so it went out on small low volume gigs and sounded perfectly fine. I even used it a few times mic'd up at big venues when we travelled without a back line and no-one ever complained about the sound. Having good monitors meant the amp didn't need to be up loud. Jazzyvee

Thanks It's the bass I use the most for live gigs over the past couple of years.

[font=Helvetica][size=3] http://www.youtube.com/watch?feature=player_detailpage&v=4MOVvDJxBSU#t=1010[/size][/font] [font=Helvetica][size=3] And about vintage instruments.[/size][/font][font=Helvetica][size=3] http://www.youtube.com/watch?feature=player_detailpage&v=4MOVvDJxBSU#t=1323[/size][/font] Jazzyvee

I usually start by learning the most difficult section of the piece and once that is done the rest tends to come into place much easier. If I can't technically play a section of the track then learning the rest is pointless. I do all my learning by ear as my score reading is very rudimentary although I'm working on that. Jazzyvee

[color=#282828][font=helvetica, arial, sans-serif]I'm gigging with Musical Youth tomorrow at the Caribbean Festival in Victoria Square, Birmingham city centre.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]We haven't been told what time we are on stage yet but have to be back stage for 18:00 so I don't imagine it will be too long after that when we hit the stage. I think we have a 40 minute spot.[/font][/color] https://www.facebook.com/events/397271023747166/?ref_dashboard_filter=upcoming&suggestsessionid=008df727261ac3908bdc400d29403f46 http://www.birminghammail.co.uk/whats-on/food-drink-news/12-things-see-birmingham-caribbean-7209457 Jazzyvee