jakenewmanbass

[quote name='Beedster' post='1277395' date='Jun 21 2011, 05:43 PM']Trying to resolve this one way or another is like trying to get toothpaste back in the tube.[/quote] LMAO Chris I actually have a very successful method for exactly that...

Some, super elite, hyper, mega, self indulgent SELFINDULGANTISM for you. Notice the complete lack of melody, shape, form, poise, groove, beauty (abstract or otherwise) in it....! Yes folks it's COMPLETELY IMPROVISED.

[quote name='chris_b' post='1277321' date='Jun 21 2011, 04:56 PM']By definition all musicians are self indulgent.[/quote] indeed.... Muse....

ah Clarky, I retracted my earlier statement as I felt there would be too many that would take me too seriously I support the honourable Jazz/improvised Bilbo unreservedly.

[quote name='skankdelvar' post='1277182' date='Jun 21 2011, 03:30 PM']You're wrong, of course. This kind of total travesty has never happened to me. Why? because every time I sit on the end of my bed and pick up my bass, I check my tuning. It's easy enough, red means out, green means in. I mean, she's a professional, she should know this. Red = out, green = in. [b]Anyone who doesn't know this should be shot in the face before they get anywhere near a stage.[/b] When I saw this total travesty I immediately voided my bowels in disapproval. I mean, she's a professional. Her fee [i]could[/i] have paid for a new hospital. Or at least a paediatric unit. Basically she's just pissing in the face of dying children. I hope she comes on here and sees this and goes away and cuts her hands off so we never have to listen to this sort of total travesty again. Unbelievable. I mean, if she couldn't see the board for the sunshine, she should have signalled to the parasol roadie to get his arse over her side PDf***ingQ. I mean, she's a professional, ffs. It's a total travesty. Green = out, red = in. So simple, even a woman could understand it. God, I love Jaco.[/quote] I love you...

happened to me once, a tech tuned my G string to G#, it was painful for a while but I sorted it, I think those that are hyper critical of the player in that circumstance underestimate the potential hostility of the environment of doing a short set, to thousands, outdoors, because if your monitor mix is f***ed then so are you.

Jennifer I just read your comment about not being strong in thumb position. Check out evolving upwards by Rufus Reid, it's brilliant.

[quote name='stingrayPete1977' post='1268855' date='Jun 14 2011, 04:39 PM']Stevie Williams is the man and played a great opening set last year, The quality of players and gear can't be found in such a close environment anywhere else but the slap just doesn't stop year on year! Who is going?[/quote] Stevie is an old mate and is a dynamite player, I'm sure the slap thing feels abit beyond their control but I just think it's a great thing that they have created. I have yet to go because every year I've had a gig, but as soon as I'm able I will go along.

voted hard case because I will always try to use the Alembic... gig bag is a no no for that due to the exotic tail adornment. I use a gig bag for the fender jazz.

The more I use a pre amp the more I feel it has to do with what you get out of a bass (when amplifying of course), I have 2 basses that I regularly gig, one is a ply cheapo that I have an underwood pickup on, the other is a lovely 1880 blockless wonder with a realist, which captures more woodiness than the underwood but in terms of getting a serviceable tone, onstage and out front, more and more I find that careful use of the fishman platinum pro means that in almost all circumstances I can find a sound with which I'm comfortable, I'm deadly serious when I say, that it has a lot to do with the sound I am producing in the first place, but amplifying that has definitely become easier since using the plat pro. I'm sure it's true of many of the other pre amps too, it's just that I have a fishman.

Jackson has an immense groove and a really brilliant sense of ideas, he propels and supports and is seemingly unfaltering.

[quote name='dave_bass5' post='1260250' date='Jun 7 2011, 08:46 PM']Still not 30 min bass solos as i already stated.[/quote] I think they are exactly 30 min and longer bass/baritone register solos, different instrument granted, but my point is that I like to listen to music on merit and won't rule anything out because it's a _____ solo (insert appropriate item, could be a cucumber for all I care) [quote name='dave_bass5' post='1260250' date='Jun 7 2011, 08:46 PM']I said it in jest really but i do really find Jaco's (and the like) playing very, very boring.[/quote] that's a different matter entirely and I have absolutely no problem with an individual expressing choice and taste, I do have a problem when people won't leave it at subjective and go on to proclaim that their view guarantees that something is... sh*t, mediocre or amazing according to their taste. I wasn't suggesting that you were btw, just making my view known for the general sake of the thread

[quote name='dave_bass5' post='1260164' date='Jun 7 2011, 07:48 PM']No 30min bass solos either ;-)[/quote] what are the cello suites then? some baritone... some bass.... 100% solo

I know a few John, so depends on the pay really, all the guys I know are pros, if they are decent paying gigs I can probably find you a few numbers... Jake

[quote name='OldG' post='1259737' date='Jun 7 2011, 02:42 PM']Watched both videos to make sure..... I don't get it either - but then I like at least a [i]bit[/i] of rythhm with my music.....[/quote] It's fine not to like it, to suggest it's without rhythm is just incorrect, granted it's a rhythmic language with which you may not be familiar, but it has great time, great poise and great musical expression. That it doesn't reach a large number of people is immaterial, it's still greatness.

It's probably a good time to point out that theory as a learned subject is only half the battle, and further, as a technical subject is only useful for explaining the mechanics of music to others. Maybe folk should realise that it's how you utilise your knowledge of theory on the instrument that matters.

full size (4/4) is bigger, and is more of a handful (literally) Big old carved basses do seem to often have a nice big fundamental, although it really depends on the instrument, some 3/4s have a huge tone. Many orchestral players use 3/4 basses although mostly they tend to predominate in Jazz, in recent years anyway. If you look at old jazz footage you will often see a full size bass.

I've done quite a few cruises and like Garry saw it as a chance to travel the world Med, Caribbean, South America, U.S, Far East, Middle East, India etc etc I have been quite lucky in that I was offered a lot of cruises when I left college but was always working enough to feel that the pay wasn't quite attractive enough (I realise I'm lucky to be able to say that) but then the act I am a regular member of started working for various cruise lines as guest entertainers. The pay is massively better, you get passenger cabins and privileges, you only ever do 1 show (but twice for 2 different dinner sittings) and maybe a ten minute spot in the variety show at the end. I've been on 2 week stints of a number of world cruises and done loads of short (6 day) med and Gibralter/Portugal/Canaries type things too. Most recent one was in April for Olsen from Malta to Southampton, and we are in line for some disney med and caribbean later in the year. as a bar band or in the theatre band the work demand is much much higher and the contracts are likely to be longer... but there are several benefits if you don't drink yourself to death, namely seeing the world and dancers...

[quote name='Pete Academy' post='1241164' date='May 23 2011, 08:28 AM']Reading and theory knowledge are undoubtedly useful skills, but I still maintain being able to play in time and being able to groove are more important.[/quote] What we have arrived at before in this conversation is that the two are not mutually exclusive. Non readers often seem to suggest that readers are somehow deficient in the groove/time analysis. In my experience this has turned out to be a total fallacy (allowing for the normal parameters of ratio sh*t-sh*t hot players)

I've had it happen many times when supplied with instruments overseas (or on the sea) eg I did a Cruise in April and had to use the ship double bass which was not great, but I did only have to use it for 1 45minute show (twice). I find I'm able to learn the peculiarities of an instrument quite quickly, having decent technique and relying (as you should) on your fingers to create a large element of *your* sound helps enormously. I'm serious when I say that buying an Alembic helped with this because they are instruments that reveal your technical inadequacies (they show up everything) at first that was a little disconcerting, after a few hours of playing it I realised it was an opportunity and I have learned through that to get more out the various instruments I find myself playing. Best experience: being supplied with a 30,000 euro DB at a gig in Hamburg (a truly lovely bass) Worst experience: A musicman stingray (in Berlin) that had action so low that any level of digging in produced choking (with no time before the gig to do a set up)

[quote name='Cyprusbass92' post='1234401' date='May 17 2011, 03:07 PM']Hello everyone. I was wondering if anyone of you knows which of this colleges/universities is best to study bass to but also have a good and recognizable bachelor. Here are my choices: Brunel University London College of Music London Center of Contemporary Music Institute of Contemporary Music Performance and Goldsmiths University Note that i want a course that is not oriented only to bass practice but also in composition and harmony[/quote] Hi Cyprusbass I teach at the London Centre of Contemporary Music and used to be the bass tutor at Salford University, and the Arts Centre in Liverpool. I've got over 15 years experience teaching in colleges and I can honestly say that LCCM is an excellent college, the emphasis is on the practical, there are some seriously good tutors there and the students seem to have nothing but praise for it. I know very little about the other courses you mention so can't speak about them, but I would recommend LCCM without reservation. Have a look around this site and I hope you'll find that I always try my best to be honest and fair minded so I really would not give you biased opinion. Jake

My '77 is like thunder in the studio, everyone always comments on how weighty the thump is. Thats partly my fingers and I guess the seymour duncans it had on when I bought it. Not sure this helps with the question... apart from the obvious... hit it right...!

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