jakenewmanbass

CLANG... I just got it... Jaking the piss wah wah wah waaaah....

[quote name='phil.i.stein' post='1130152' date='Feb 16 2011, 08:02 PM']i do sincerely hope you're not jaking the piss.. [/quote] Not only am I not, I fail to see how I could be... For the purposes of clarity... I meant it's an irresistible feel, to listen to... I find myself swept along with the feel it swings so hard

[quote name='phil.i.stein' post='1130009' date='Feb 16 2011, 06:18 PM'] wow. freaking awesome. not usually my cup of tea, but you'd have to be brain-dead not to appreciate that level of skill.[/quote] indeed... irresistible feel innit..

Isn't the Realist a transducer? If so, yes... me!

[quote name='silddx' post='1129425' date='Feb 16 2011, 11:36 AM']Fantastic! He's ripping! I think that illustrates the principle perfectly, the solo was human, not mechanical, and therefore was so enjoyable to listen to. Thanks Jake.[/quote] It's a very important point, it's music not exercises, the guy clearly learned to play melodies and make music, very different to some of the gymnastics that wow people in other arenas. And this was in 1945!!!

It's been mentioned around here once or twice that learning to play what is in your head can be helped by singing along and making sure that the idea in your mind is properly executed on your instrument This clip illustrates beautifully just how much great fun that can be. Slam Stewart is the bass player, check him out at 2.11 It's really worth noting that you are listening to 2 instruments that only play one note at a time... see what melody can do...!!!

[quote name='fatback' post='1128935' date='Feb 15 2011, 09:31 PM']I'm gonna try this. Thanks. Starting to read ab few months back, I found Rufus Reed's book a great place to start. He begins with a big section on reading rhythms with open strings. I found it very helpful, as [b]it separates the reading rhythms job out from everything else. Before, I was trying to learn too many new[/b] things at once.[/quote] This is an important point

It really depends on whether you want to simply read music in order to learn a set/songs or whether you want to go into bands that sight read regularly eg cruise ship bands or pit work. If you want to sight read then it will probably take a bit longer because there is a big difference between reading when the stakes are low and reading when you are there, onstage in the moment. You also (in a proper sight reading situation) have the conductor to deal with... learning to play with a baton is another element to the skill. The hardest thing about reading for bass is the fact that if you make a mistake EVERYBODY hears it. I have had a regular gig for the last 10 years that has not required reading so I really have to work hard to keep my reading up and am currently doing at least a couple of hours 4-5 days a week, reading everything I can get my hands on, I have really felt it paying off.

[quote name='Blademan_98' post='1127535' date='Feb 14 2011, 08:00 PM']Like this?[/quote] exacterly

Looks like I'm going to be there, us BCers should all wear hats on a jaunty angle to identify one another

[quote name='Bilbo' post='1127149' date='Feb 14 2011, 03:17 PM']Ain't Nobody - hate it. Doesn't groove, doesn't do anything. Punters love it. Go figure.[/quote] That surprises me somewhat... It's a synth part so I agree it's difficult to capture the feel but if you're on that groove with a really locked down drummer it can rock... I find it interesting to try to get the notes in the right place. Especially because it's quite jerky.

[quote name='Sibob' post='1125332' date='Feb 12 2011, 07:31 PM']Are these vids anywhere else?, they don't seem to be playing on my mac!? Cheers Si[/quote] I have the self same problem

[quote name='BassBus' post='1124403' date='Feb 11 2011, 09:43 PM']Maybe I have misunderstood you Jake. I was merely refering to our previous discussion on this matter. Perhaps 'argued' was the wrong word. I do manage to achieve a straight wrist on the DB too without having the elbow too high and use a similar position on the EUB, or as close as possible. I think we agreed before about finding a playing position that suits the individual.[/quote] No probs BB just trying to be nice and clear for the OP, I've had a few DB teachers and they have all advocated the straight wrist thing, but yes we agree on suiting the player. I still would suggest that having a teacher (ie external view) is the best course of action, and I'm very keen to help people avoid the sort of problem that is being mentioned here, as I have come across quite a few players over the years that have had injury prevent them from playing at all, and in some cases I'm talking about a loss of living for years at a time so I know you'd agree this is not to be taken lightly.

[quote name='BassBus' post='1123700' date='Feb 11 2011, 11:36 AM']. I have argued the point of keeping your elbow up with Jake before. My elbow sits relatively low but my wrist is still straight. I guess I have the bass tilted back slightly to allow this. I used to keep my arm up but that led to shoulder problems. With my arm down now there are no problems whatsoever. You just have to experiment to find the way that suits you. And yes get a teacher, says he who hasn't done that. [/quote] To be fair BB if you are referring to playing the EUB in your pic then the angle at which you have the neck would not be achievable on DB whilst standing, and therefore your arm position will be much more like that of a seated DB player, I' saying this because I felt that our previous conversation was quite successfully agreed at different physiology etc you are (in your pic) keeping your wrist straight with your elbow low but that is only because you are playing an EUB on a stand. The same would be near impossible with a standing DB edit. I have also never advocated keeping the elbow uncomfortably high, only enough to maintain a straight wrist.

I think in it's current form Ollie yes it's relatively new, but there has been a college of sorts on the site for a while. It has been given accreditation by Middlesex Uni so is bonafide but more importantly it has a strong practical influence in the teaching so there is lots of playing going on, and they have some really good guys teaching there. I have been doing a Bass and Drums workshop with a guy called Rich Brook and they have been nothing short of excellent with a very high standard of achievement and a real enthusiasm from both staff and students. Highly recommended.

I've been doing some teaching at [url="http://www.lccm.org.uk/"]LCCM[/url] I'm impressed, I have years of experience in colleges having taught at Salford university and the Arts centre in Liverpool for 8yrs Leigh college for a couple of years and having associates in Guildhall, Leeds, Trinity etc etc LCCM has a very good ethos.

For me the word grip and fingering don't go together, if you are gripping the neck you are maximising the inefficiency of the movement in your fingers, making it more likely that strain will occur, your left hand should be relaxed and loose feeling with all the pressure being efficiently centred in your fingertips by having a straight wrist and using the natural gravitational effect (however slight due to the plane) that resides in your left arm. There is more detail on this subject [url="http://basschat.co.uk/index.php?showtopic=67545&st=20"]here[/url] where a few people have discussed this subject and I have included some pictures. My final thought on this is clear, and I've said it many times. GET A TEACHER. Even if it's just for a few tips. The external view and constant prompting to maintain good habits that lessons 'should' give you are invaluable at the early stage. Despite it's popularity on these pages I see the relative value of powerballs as minimal. You are exercising the muscles in very specific ways when playing DB a powerball may well help general muscle strength in the area but I'm yet to be convinced that this is of any real benefit to conditioning the same muscles to execute an entirely different set of actions. (I may be wrong of course)

Put the kettle on!

I first heard her in a club in Belgium, I was on tour and the sound man was playing Plantation Lullabies after the gig, it was 1994 I knew right then that I would love her forever... *ahem* as a bass player of course.

arrghh too much half information can be deadly... A flat 3 simply details the relationship between root and 3rd, avoid the temptation to compare with anything else because as you see you will get lost. b3 is simply a minor third up from the root eg in C the min third is Eb, the comparison only comes when talking about the major 3rd which would be E. the best way to always be sure in things like this is to relate to absolute points... the obvious being the root. relate everything to that and you are on a surer footing. Doddy got in (accurately) while I was typing :0)

All I can say is Jesus! Edgar Meyer has ridiculous technique. Three tremendous players, Brown is my fave tho.

been teaching on and off for 15 years, more than happy to help. what do you need me to do?

I played an MIM jazz to 8000 people in a German tennis stadium does that count?

For me the truth of this situation is more about how tolerant one is. I find that I can enjoy playing stuff that I wouldn't listen to. It feels different actually performing it and stuff that I would otherwise consider cheesy might seem like quite a lot of fun to perform. I wouldn't refer specifically to people I have worked with but I have played with some people who I felt were not so good until I playing with them gave me a bit more insight... I have had some disappointing ones too. The one exception to naming names is Bruce Forsyth, I felt Bruce was the epitome of finger down the throat cheese, throwaway saturday night tv guff, then I did a show with him and I was absolutely blown away by the quality of the guy. He sang, danced, joked and even played in a piano trio setting with me and the drummer. I left the stage humbled. I do realise there is a bit of a difference playing a show like I described and some sh*te arse norbert in a local boozer for 30 squids

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