mcgraham

I was in on that auction too. I thought that I'd like to pay 200 quid for it, what I'd be happy to pay at most for it was 230 (so I said 235, who wants to lose out because someone put in 231 pounds!) and absolute max was 255 quid. 270 was what it went for I believe. I'd much rather pay for brand new and have the option of taking it back if there's a problem with it. After doing some more reading, I [i]may[/i] end up opting for its little brother, the AX 50 USB. Simply because it's cleaner, smaller, simpler, and I'm planning to expand to an external MIDI sound unit eventually anyway. Plus I won't be using the full power of the system, I'm going for the keyboard but on guitar route. I'll do a bit more reading into the best option, pull the trigger sometime this week (dead cert if the AX 50 turns out to be my best choice) and mess about with it on guitar. If it turns out that it tracks well on bass, then I will possibly get Jon at some point in the future, once funds are secured for such a project, and then get a MIDI ready bridge put on my bass to make it all a bit more svelte. The guitar I plan to use it on is an acoustic though, so I wouldn't realistically be able to do the same on that. Mark

Thanks for the response Kiwi, I was hoping you'd give your input seeing as you're having a MIDI bass built! I'm willing to pay the cost I've totalled up from Thomann and various places as it is a tool I would definitely use. As I've said above, it's not for the novelty purpose, it's so that I can do exactly what keyboardists can do from a native instrument. However if it isn't up to scratch on bass, I will do it on guitar as I do most of my complex arranging and transcription on there. That video is pretty good, but not really what I'm looking to do with it. From the sound and his description it sounds like he's mixed the normal bass sound with the MIDI; I'd be primarily looking to 'play another instrument' using my bass/guitar rather than trigger samples or mix two sounds together ala an effected sound. Have you managed to acquire an Axon unit yet? Or are you still on the lookout? Mark

Hi Mike It takes a great deal of humility to be able to listen to people's criticism and even more so to open yourself up to that, it's a necessary way to improvement in all aspects of life, so well done for that. I know I'm hesitant to place things up online in case people dislike it. That's cool about your hand, perhaps it was the camera angle. It seems you also like to think a lot about your technique, always good to see another bassist/musician who takes their development seriously. I don't have a camera, so I will only be able to post clips. I will get round to doing some once I have some stuff to post. I don't have set pieces as I tend to practice to be able to improv over whatever I'm playing with other people. I'll think of something though Mark

Hi Mike I know what you mean about hitting your peak in a day, and also getting frustrated when you can't do something you were doing earlier, even if it is as qualitative as 'playing nice phrases'. We can all work on our phrasing more. I agree about the being relaxed and not thinking too much. Although I enjoy thinking about where to go next, creating some bizarre move from chord to chord, place to place; that's where the most amazing original ideas come from, the uncharted 'wrong note' territory. I reckon the problem is when we believe we [i]need[/i] to be thinking more, we suddenly think 'oh...' and that what we're doing isn't complex, or fast, or crazy enough for what you're playing. I presume this vid was posted with a view to constructive views and criticism, so I hope it's ok to say this; after the phrases I did like, and also the stock widdling that we're all guilty of, I do find that a number of your ideas seem to lack introduction and lack resolution. What I mean is that sometimes they come from nowhere and sometimes they don't go somewhere. Specifically, I sometimes 'feel' that quite a few could be promising, I open myself up to them, and then you stop! prompting me to grimace... A possible suggestion would be to try looking for some interesting resolutions or connecting phrases for the licks and phrases you already have stored in your mind or under your fingers. My opinion is that slowing down and listening to what sort of movement you're producing with your notes would be quite useful. Oh, and one other thing (sorry!) about your technique. I notice that when you use your middle finger to pluck, your entire forearm and hand 'structure' shifts over to your right, and then when you use your index, it ultimately shifts back again. Reducing or eliminating that motion altogether such that that structure always keep the same shape would significantly help in keeping the energy you expend to a minimum, improve the efficiency of your technique and also produce less strain on your wrist. These are just my thoughts so feel free to leave it. Hope I didn't come across [i]too[/i] opinionated or preachy I'll have to post a clip at some point to open myself up to some opinions. Mark

Hi Mike Read the comments already posted, just to encourage you I don't think your vibrato was overused or too wide at all. I do enjoy hearing the different approach to vibrato too, your approach is very different to mine. There were numerous phrases I quite liked in there, and a fair few that really jumped out at me as being really expressive and unique. Genuinely, some of them really made me sit up and listen, well done bud! One suggestion I'd make is to make the backing tracks in your videos a little louder. I for one find it quite difficult to get into a feel with your soloes (sp?) as I can't consistently pick out a progression or a particular feel or mood to the overall piece. Perhaps it's the compressed quality on youtube that does it, if so, I'd love to have a listen through headphones to any mix you may have available. I wouldn't want to make any more comments until I'd heard it more clearly. Good work my friend, keep on posting them vids! Mark

Hi all, I'm not if many or any of you have seen the video on bassplayer.tv where a Terratec rep. fiddles with their Axon AX-100 MkII guitar pitch-to-MIDI convertor, but it's more or less persuaded me to look out for a good MIDI system. My musical background is gospel and worship, and I am always envious or at least amazed at the versatility offered by advanced keyboards such as the Roland RD 700 or 700 SX (several of my previous bandmembers have used them). The variety of sounds achieved by them is astounding. Artists such as Israel Houghton also seem to employ a multitude of keys players that synthesise horn parts when necessary, which saves touring with those fussy saxophonists In short, I REALLY want and have always wanted that ability on at least one of my instruments, for performance, arrangement and transcription purposes. After doing some reading, mainly TalkBass based reviews, it seems it's not great at tracking on bass. Disappointing, but understandable. So I will likely spill out on the necessary aftermarket pickup for both bass AND guitar so as not to lose out on what it offers. I'll decide sometime this week whether or not I will pull the trigger on ordering the necessary bits and pieces, and when I am likely to do this. So why am I posting here? I was hoping that someone out there may have had experience with such MIDI systems, particularly this one, or perhaps even the Roland GI-20. If you know any info that would be useful to consider before deciding to shell out a couple of hundred quid for a MIDI setup, it'd be much appreciated. Either way I'll hopefully be posting in a week or so (hopefully not much more!) and let you know all whether it's any good. Mark

I LOVE that worn dual layer finish, looks amazing. I wouldn't want it unless I'd done the wearing about 40+ years of playing it though. Mark

Try bringing the neck of your bass in closer to your left shoulder (fretting hand) ala classical guitar posture where the body of the guitar is parallel to your own. Just youtube people like Andres Segovia for examples of seated position, or Joe Pass (I know, not classical) for a good example of good posture when standing. You will have less difficulty reaching spaced chords like that (and more) if your posture and technique is correct. Also keep your thumb in the middle of the back of the neck (or perhaps lower) to reach those chords. To reach wide chords on either guitar or bass, and presumably piano, you need good technique, correct posture and you need to be relaxed. A great article on reaching wide chords that I would recommend can be found at [url="http://www.ibreathemusic.com/article/144"]this page - Reaching for the Unreachable[/url]. It [i]is[/i] guitar focused and a lot of you that read it will go 'that is impossible' when trying some of the chords. I assure you they are not Mark

On option that I was turned onto after reading about Dingwalls was to have a rotary selector switch. Their's is a 4 position set to be neck - neck+bridge (series) - neck+bridge (parallel) - bridge (Note I may have got the middle two mixed up, but you get the point). I myself opted for a 4 position with off - neck - neck+bridge (parallel) - bridge. It's great cos it means I always get max volume out of each pickup in each setting, I have a master volume control AND I have a kill switch option. I don't feel like I'm missing tonal variety either. The switch cost me a few pennies from Maplins. Just another idea to throw into the mix. Mark

I'd say the most comfortable bass I've ever had slung round my neck was bassjamm's Fbass. It sits PERFECTLY against your body with the PERFECT angle for correct technique. However, as more accessible basses go, I've played for that long on jazz basses, I find that they are by far my preferred shape of bass for playing and that my technique and muscle memory has evolved around that shape. The cutaways, the curves, the smooth finish.. only difficulty I've found is their neck dive, which should hopefully be rectified on my bass that Jon is working on. For ergonomic g*itars, I would recommend checking out Gus Guitars (although their basses are foul IMO). The outward curve rather than inward curve on the lower body is great for seated playing. And boy are they light! Mark

May be a bit late to ask but is anyone going from Nottingham? Or Nottingham locale? I'd like to come but would need a lift to do so. So if anyone is feeling generous and has space for one + one bass that'd be much appreciated! Mark

Jon is a true gentleman and a phenomenal luthier, he's working on a project for me at the moment. I realised that I'd contracted him to do some work without actually seeing or playing any of his work in the flesh, but I have to tell you, once I got there, I was amazed at what he produced. The quality is just astounding. I was much more impressed with his basses than some SIGNIFICANTLY more well known and expensive basses that I've seen and played. I didn't get to try loads of different ones so I can't tell you how they all sound but the ones I did try were great, I don't think you can go wrong opting for a Shuker. Mark

Definitely black, specifically 3-ply black-white-black so you could a nice pickguard highlight. Mark

[quote]Dont you know an excuse for GAS when you see one[/quote] D'oh! Guess I don't I'm a big fan of having one bass, at most two or even three, mainly because I spend all my time practicing on one bass. So I always advise working with what you've got first before going out and spending more money on more instruments. You raise a good point about the preamp though, that could/would really change the available sounds of the MM. Mark

Hi there, I know you said money is no object, but it seems silly to spend loads (or anything at all) until you've tried simpler options. Might I suggest changing the pickups for something with more meat to them? Perhaps DiMarzio Model J's? I had the chance to A-B compared my jazz with Model J's in to a Nordy with Fat Stacks in, and the Nordy sounded weak(er) in comparison. Not a bad sound from the Nordy! Don't get me wrong, it just didn't have the same muscle that my jazz did, and I attribute that to the Model J's. I would put it up against any Warwick, Smith, Sadowsky or equivalent high end bass with these babies in. If you want a thick, muscular tone, but from a jazz and retaining the sweet essence of a jazz, I highly recommend Model J's as an aftermarket pickup change. Mark

Hmm, I have to admit I don't GAS for any *specific* bass, but I'd probably say Dood's Shuker 7... by quite a substantial margin I might add! The maple fretboard, the elegant inlay, the single cut AND the awesome colour. I'm a huge fan of stylish solid finishes, no need for fancy top wood! Mark

I was thinking about this whilst doing the washing up. [b]"Whose bass would you most like to have and why?" [/b] I'm sure you've all got custom ideas in your head but this is limited purely to basses that are already owned by someone. It could belong to your favourite artist, or it could belong to your mate in a local band. Either way, whose bass would you most like to have and why? "Because it's worth a lot of money" is a bit of a cop out by the way. Mine would be Matt Garrison's burl maple topped Fodera. I think it's elegant, simple in appearance but complex in its construction and how it has been thought out for maximum playability. How about yours? Mark