jakenewmanbass

I had a combo with the wooden cabinet, I think that was 150w too. Superb amp. Thats all I know really, very clean sounded better with electric than double but that was before I knew what I was doing with pick up etc.

[quote name='Stingray5' post='672156' date='Dec 2 2009, 03:16 PM']Been and done... [url="http://basschat.co.uk/index.php?showtopic=57975"]http://basschat.co.uk/index.php?showtopic=57975[/url][/quote] Am I missing something...? Isn't it the same guy, different user name....?

[quote name='dunetune_jazz' post='671672' date='Dec 1 2009, 10:46 PM']Everyone on Basschat Comes to Mind?[/quote] Being a bit hard on yourself there

They are undeniably great basses.

You guys are not alone in thinking that one finger sounds more consistent. I've heard that Marcus says the same thing and over on the Alembic forum I've seen a thread with Jimmy Johnson saying the same for recording 8th note bass parts, he cites Jamerson as a light in this. I also do the one finger thing especially on upright.

[quote name='silddx' post='669930' date='Nov 30 2009, 12:47 PM']That's a bit like saying we should all shag a chimp isn't it?[/quote] you mean you haven't chomped chimp ass?

The trouble with corporates is you have a trapped audience. So it's worth realising bands that do well in those circumstances generally do one of 2 things. 1. be so utterly brilliant and energetic that the dynamism of the performance means that everyone enjoys it regardless of whether they know or like the material. 2. place enough generic material in the set that you please enough of the people enough of the time (most function bands fit this category) Seems to me that option 2 is off your list because you do what you do... So the answer.....? do what you do very well, energetically etc and go in with the idea that you'll give them a good time. TBH it doesn't always work but you will have a better success rate if you go in with a good attitude. PS I do hundreds of corporates with a musical comedy act and we are expected to "ENTERTAIN" so I have a lot of experience of every type of response good bad or indifferent.

I noticed a bit of settling with the Alembic but it was amazing out of the box. If you listen to the makers comments they talk about wood 'learning' its new job (rather than being a tree) so I guess I'll see even more improvements. My good upright is from 1880 so thats almost bedded in now

[quote name='derrenleepoole' post='666733' date='Nov 26 2009, 09:00 PM']Where's the Bflat if it's mean't to be C harmonic minor? Or have I missed something? Not that I'm picky or anything [/quote] Harmonic Minor has a major seventh giving rise to the lovely min II V I with altered dominant. eg Em7b5 - A7b9 - Dmin most people assume that the b9 is the alteration but in fact that (Bb) belongs in the scale. It's the C sharp (ie the seventh in D minor) that is the note that results from the harmonic minor. Great sound giving rise to huge harmonic possibilities including altered dominants, lydian chromaticism and diminished scales

[quote name='MacDaddy' post='665915' date='Nov 26 2009, 09:03 AM']Well I could have used Bill Wyman playing with his thumb as the example [/quote] erm but you didn't [quote name='MacDaddy' post='665915' date='Nov 26 2009, 09:03 AM']but I take your point .[/quote] ditto

I did my first public, paid gig at 12. It was in the Tower Hill youth club in Haverfordwest, Pembrokeshire. We did a load of rock classics including louis louis, Hey Joe, some velvet underground stuff etc. The lead guitarist, who I'm still in touch with was jumping around like a mad fool and fell through the stage which just came apart because it was made of milk crates and chipboard. The Rhythm guitarist (who I'm also still in touch with) had an elder brother who danced in the audience like a man possessed, he is now my oldest close friend. I think we got paid about £2.20, and right at that moment a little light bulb went off in my head... I've been playing paid gigs ever since, I'm 41 and since the age of 20 It's been my living. PS. nice thread this... to find out about the stories of our fellow basschatters.

My response to things like this is always: ask yourself what it sounds like... does it sound less than good? can you hear anything that shouldn't be there (clicking etc)? If it sounds ok and you are not harming yourself by doing it then it's fine. Using examples of people like Jamerson to justify poor technique is unhelpful to yourself as you are using a musical colossus as a measuring stick. So my thinking is judge the technique on it's merits (or lack of them) rather than one of history's greatest players.

[quote name='thisnameistaken' post='665814' date='Nov 26 2009, 01:15 AM']lot of YouTube stars slapping like it was a mating ritual.[/quote]

[quote name='RhysP' post='663207' date='Nov 23 2009, 09:38 PM']Gibson also polish all their guitars with panda skins, the bastards. (BTW-This isn't actually true).[/quote] To be fair at least they are efficient, in that said skins' former contents are used in the canteen.... panda burger anyone... fricasee....ok how about panda curry? (this is also completely untrue)

I think I must be weird. I love recording as I like to hear back what can be improved upon. I am driven to getting things just right for the song and always want to hear how I did, gigs don't often give you that chance.

[quote name='Crazykiwi' post='660324' date='Nov 20 2009, 04:51 PM']Im already a member [/quote] Good man... I joined today

And now for alembic user/owners [url="http://www.facebook.com/group.php?gid=2350059330&v=info"]http://www.facebook.com/group.php?gid=2350059330&v=info[/url] go join...

[quote name='gary mac' post='659238' date='Nov 19 2009, 02:11 PM']Since sitting down to work out Durans Save a Prayer last week this has been bothering me a bit. I guess in the great scheme of things it's not important, you know if the bass line works, then why worry? So: the first chord is D minor, then to F (major, I think). So to get from the D min to the F the notes on the bass are, I think D, A, G, Fsharp and on to the F. Now normally if I was jamming with the guitards and there was a Dmin to F progression, I wouldn't consider that F sharp note and instead would choose notes common to both chords or a root/ 5th thing. So Why does it work? I know it crops up on a whole load of progressions, but I've quoted this one, as I'm working on it at the moment. I feel a bit stupid asking this question on here, as I've been playing for years and should probably know, but there you go I've gone and done it now. [/quote] Approaching the root of a chord with a note above (semi tone) implies a very common chord substitution. It's called a tri tone substitution and the chord that it implies is the dominant (the chord found on the 5th degree of a major scale) since the the movement dominant to tonic (which is 5th to root but in chord speak) is the strongest one in music it works very well. You could try it on many things. If you want it to sound a bit jazzy then use the fifth then the semi tone above root then the root. It will work especially well if it is implied in the harmony (gtr keys) As for feeling stupid go check my chinese proverb thread in off topic Jake

[quote name='robocorpse' post='658692' date='Nov 18 2009, 10:50 PM']I'm not trying to justify anything mate, just talking form my own experience of working with classically trained musicians who are top notch in the field, but are absolutely wooden when faced with anything vaguely "pop". I personally would rather go with someone who knows jack sh.t about the workings and can just hit it.[/quote] Yet you see fit to speak of the many classically trained players that you haven't worked with whose capabilities you know nothing of and state categorically that it's rare to meet one that can groove. Thats just wrong in my experience. I have known and worked with loads of royal college, royal northern etc etc players and loads of them are m*****f***er groovers and can play in tons of styles and read (with feeling) anything you care to put in front of them. So I think your assertion while it might speak for your experience is not the case for all.

[quote name='robocorpse' post='658630' date='Nov 18 2009, 10:03 PM']It is rare to find a "proper" (classically trained) musician who can sight read, AND groove.[/quote] Thats just simply not the case. I know many straight trained musicians who are very capable groovers indeed. It's a commonly held misconception... usually by people who seek to justify a deficit. And before you say there are many groovers who can't read who don't have a deficit, that's true but it doesn't undermine the validity of my point It's true that many classical players are not involved in other genres but the classical repertoire is big enough to justify that.

[quote name='BassBus' post='656237' date='Nov 16 2009, 06:56 PM']That's really useful, Jake. At least your comments have made me go and check my left hand/arm positioning. I have had problems with my left shoulder before I dropped the elbow down. Like you say what ever suits you. Then again I won't be out playing as much as you. [/quote] Absolutely, we all have different physiology, of utmost importance is making sure that you can be relaxed and minimise any pressure by keeping nice straight lines. Getting your hands and arms into those positions can feel alien but should not hurt in any way other than normal exercise pain (muscle use heat) once you have trained your muscles into the movements they will remember for you... The human body is very good at that. Once you make the alien feeling things part of your day then an easy flow of ability will follow.

ok some pics This is left hand stopping Bb on the G string. note even spacing of fingers, note notes covered ie Ab and A with 1st and 2nd fingers. Look at the position of my shoulder/elbow/wrist nice and flat for minimum stress points. the first picture highlights my hand the second shows my arm in more light. [attachment=36471:P1000285.jpg] [attachment=36483:P1000284.jpg] This is stopping a B on the A string to display reaching around the fingerboard a bit more. Most important here is that I'm [b]not cupping[/b] the neck with the palm of my hand which is a classic bad habit. [attachment=36472:P1000286.jpg] Same position different angle so you can see my thumb. [attachment=36473:P1000288.jpg] Up the neck fingers closer together playing an octave 1st finger stretch 2,3,4 all in support of one another [attachment=36474:P1000289.jpg] one from above to see the counterpoint between left and right (right hand very slightly anchors the bass but ideally posture should allow you to make the bass stand without holding) [attachment=36481:P1000290.JPG] One from the front in the same position as above. (using the heavy 2 finger RH pizz in this ) [attachment=36482:P1000292.jpg] I'm open to comments on these as I am no world authority on this, what I am though is a pro DB player of nearly 20 yrs with no physical problems so either I'm doing something right or I'm very lucky.. Edit:as a general note in all cases look at where the fingers that are not engaged are, when they are 'off duty' (albeit for a split second) I make my life much easier by ensuring that they hover milimetres above where they will go down. In short 'minimal movement'