jakenewmanbass

thanks Colin, I'll give that a try

Just recently whenever I use my back button (3 finger sideswipe to be precise) I get the following message: To reopen this page Safari must resend a form. This might result in duplicate purchases, comments, or other actions. Any one else getting this and anyone know why I am... never used to happen.

totally agree with Scott and Bilbo, it's worth remembering that a chord is defined as having extensions by the root, as each interval is relative to it. If you play extensions in low register, unless you are careful, you change the nature of the chord because we hear things from the bottom up. It's only defined as C13 when you stick a C at the bottom of it.

Don't know about Chagford, but Bournemouth has a strong music tradition, so I'd assume therefore a decent gigging scene. I'm sure you'll be happy there, I'm only an hour and a bit from Dorset and think it's a lovely county. Good luck with the move.

I saw them supporting Bonnie Raitt in the 90s I had never heard of VW at that point, needless to say I was open mouthed at his vibe. He has such a powerful groove, live you really get knocked out by it. Sorry I've got no info on albums but I would reckon that anything would be a good buy

i never thought much of them until a neighbour of mine discovered I was a bass teacher, expressed an interest, and with my encouragement joined a glam rock band. Fast forward a few months and lessons with him involved listening to, and teaching him Sweet numbers. It was at that point that I realised that they were actually a tremendous live act, and an utterly rocking band!

I think one of the most important things you can do is have a dialogue with your neighbours, if that's possible it's amazing how much less they will 'hear' you if they think you care about disturbing them, if you agree times and try to accommodate them, if they are reasonable people then it works wonders. Obviously there are people out there that won't be reasonable but it's worth establishing that first IMV All the deadening advice above is sound.... geddit... it's [i]sound[/i].... geddit (skulks away reaching for coat)

As soon as I have the results from today sent over I'll put some excerpts on soundcoud (well, when it's released, it was an album session)

It's a fascinating process... it also adds weight to the old pro idea of playing to a room. If you listen to some live albums by really great players you can hear them adjusting what they do to their environment, Rob I know you have 'James Taylor live', check out the way Jimmy and Carlos Vega play the grooves right back and keep dynamics under control... a masterclass in 'doing it right' this relates to what we are talking about here because the first thing you should be able to control as a player in a given environment is your playing. I know that some of the producers I have worked with like me on upright because I can keep things under control and be tidy and quiet (apart from my rather heavy breathing ) sounds like an old man shagging sometimes

Yep I think that's the 'room sound' Si and I are discussing, as you can see above I'm looking into ways at manipulating that but as Steve (see earlier post) mentioned today there will be times where that effect is an asset...

Some very interesting points there Si thanks for that. As it happens I've done a DB session in there today and had an engineer come in with some nice mics and a portable pro tools set up. The chap that came in was Steve Ancliffe from http://www.bigbluemusic.biz/Site/Welcome.html I asked for his views on this too and he was saying similar stuff to you he did say that the liveliness was something that I should keep available as an option so suggested having moveable stuff. I should have mentioned that the floor and ceiling are not parallel and that the end wall is not perpendicular to the side walls which means that waves are being sent in different directions already. Steve said the wooden floor was really helping so I'm considering getting a large absorptive cloth (like a black out cloth) for one wall, I kind of did that today with a mattress and some blankets and it cut the reflection dramatically.

Ahh didn't notice the date of your post Garry... I will check in future thanks for the heads up.

I followed the link mate and it takes me to a $79.99 product... am I missing something I'd be interested in this.

[quote name='51m0n' timestamp='1322732265' post='1454917'] Treating that room a little with some basstrapping, broadband absorption and diffusion would make it sound great for tracking though. Not that its awful right now, just 'there' quite a bit. [/quote] I'd love to hear you expand on that info Si, I agree it's not too bad but I really have to think about not reducing the space any more so I'm thinking of softening the corners between wall and ceiling and putting absorbent materials behind fixtures like the drum kit and desk. I am also going to make some sausages... Lol seriously, I did some sessions at the dairy in Brixton and they had muslin wrapped rockwool in long (about chest height) flat ended sausage shapes half a dozen of them made a very effective booth.

Thanks Garry, that bass records so well, it has dynanism in all the right places so it's a joy to play and yes I have worked on my intonation quite a bit I can't believe you got through it all tho I have said this earlier but on gigs that bass is a bit quiet and lacking in presence so I sometimes think about getting something with a larger fundamental, then I record it again and it sounds so lovely.

Sorry it's taken a while, but i've had some electric bass recordings to do... anyhoo, here is my recording set up, this is the bass into a Groove Tube GT67 valve condenser, the pre amp is a presonus X Max firewire/micpre and it's going completely unadulterated in to logic. http://soundcloud.com/jake-newman/basschat-sample-recording The mic is 3 way switchable (cardioid with hyper option, omni, figure 8) and has a low end cut option, it is set to cardioid with no low cut. I placed the mic directly in front of the bridge at about 18 inches I find that if it's too direct to the f holes it can woof. The room is still hard surfaced as I haven't had time to do any bass trapping so I have draped some blankets about to cut reflection a bit (I can hear it tho) It does have a nice pine floor and I think that lends itself to the DB sound anyway. The recording... LOL, I just noodled around on a blues for ages, 1 take, no prisoners taken so warts and all.

I think at the level Joe is pitching this stuff the 'having a musical content' to what you practise is a good idea, I do however think at the beginner stage, that some exercises that allow you to concentrate on the physical nature of what you're doing are highly useful. I have looked at Joe's site and he seems to be a really comprehensive teacher and knowledgeable chap.

[quote name='RhysP' timestamp='1322674465' post='1454363'] I helped the drummer in a band I was in many years ago do this to his garage. It took a lot of work but the result was superb. As a thank you for all my help & hard work he f***ed off with my girlfriend. [/quote] Sounds like a charmer!

I built stud walls inside my garage (dry lining) and put rockwool in the gaps, then a layer of plastic membrane all over all surfaces, then plaster board and a skim, the sound proofing effect is dramatic meaning that when my son is banging away on the drums that I can barely her him in the house... The total cost was not cheap but massively less expensive than foam.

51imon... that's the fella!

I have good ears which makes me happy and sad in equal measure, if there is a pick up in a recorded sound I can hear it, and HATE IT!!! I have a (3 actually) GT67 large diaphragm condenser, into a presonus firewire mic pre/interface into logic... (soon to be pro tools) I'll sort a soundcloud thingy later and give you some examples of my home recordings. I've done a couple of online sessions with it so I guess I'm doing something right. I'd be most interested to hear expert views on my setup and how to maximise it's usability I also have a couple of sm58s and a 57... and a gorgeous Alembic Pre for electric stuff. When I've played upright in studios, I encounter a variety of techniques, at AIR and strongroom the engineer uses a really lovely old Neumann, at Parr st in Liverpool the guy used a Neumann in front, a big ol ribbon mic in the distance and a thing that looked like a tapered pencil pointing at my fingerboard. At the Church in Crouch end it was one of these [url="http://www.korbyaudio.com/products.html"]http://www.korbyaudi...m/products.html[/url], at Angel in Islington a large Neumann condensor, and at Sleeper Studios he used a Neumann m149. I often think about selling my bass to get something louder... then I go into the studio and it just records so well... I've also done sessions in little jingle studios where I've been in a large vocal booth with a U87 and it sounded great despite the size of room restriction. Bilbo, you know what your bass sounds like, and you know how you want it to sound coming back at you from monitors, as a novice engineer I would say experiment with positioning, if you can get someone else to play your bass and get on your hands and knees in front of it and with your ears find the place that it sounds most pleasing to you... mark the spot, and put the mic there, also mark the position of your bass. Keep trying mate.

To continue Bilbo's sentiment, lots of great players will be faithful to the form and treat it simply initially, but there is an almost febrile energy developed in hearing masterful players keep it simple, I once saw Marc Johnson with Eliane Elias and he was massively grooving and playing very powerfully (and simply) harmonically, I asked him about that after the gig and he said in a trio setting it's important to play four and make the changes. If you want to really have a keen sense of how you are doing, record yourself playing walking bass with no accompaniment, be brutal in asking yourself whether you can hear the changes happening from you lines alone... if you can, great, but work to do more of it without repeating yourself, if not, work on making that happen. Combine listening to great examples (and learning to play them) with doing exercises that take you through standard changes eg II V I, I VI II V blues, rhythm changes well known standards etc etc Whenever I record what I'm doing (and I'm lucky enough to do that quite a bit and often as a job) I always start out with putting ideas in and then stripping it out and going in the direction of more and more simple. In my sensibilities it's then that the music starts to happen.

ha ha... missed that (doh)

Hi John, you need to give an idea of your location as there are tutors from all over the country on here... best of luck in your search Jake