jakenewmanbass

Assuming I don't get a gig in between now and then I'll make it along, and I would be willing to give some advice along the lines of my one to one lessons, problem solving and general musicianship etc, if that were of interest to anyone... 01. Silverfoxnik: Roscoe Beck V, Wal Pro2e, BC Rich Eagle, Fender Jazz V Deluxe, plus my recently acquired Eden Metro Rig 02. Merton: Status Retroactive, Mikey's Singlecut Fanned-Fret Prototype, LH500 and Barefaced Vintage 03. OBBM: StRay5, MB F1, UL212, something else. 04. Hamster: BFM Omni15 tallboy, Barefaced Compact, Fender P with Thumper & Villex PTB 05. Alex Claber: '87 Warwick Streamer, RIM Custom 5 with 36" scale and Q-Tuners, Avalon U5/QSC PLX3002, GB Shuttle 6.0, Barefaced Compact, Big One, Midget, Midget T, maybe Big Baby. 06. Johnnylager: Spector Euro 4LX, KSD Jazz, LH-1000, Barefaced Big Juan, DHA Custom Shop VT2-Twin-EQ-Bass with Tech Tube valves & whatever other effects I have at the time. 07. Happy Jack: Lightwave Sabre VL, Hofner 500/1 (1964), Hofner 500/5 (1959), PJB Bass Buddy + headphones. 08. MacDaddy. Custom Shuker (hopefully!) and possibly Hamer Blitz or Iceni Zoot. 09. Stingrayfan: G&L Tribute L2000, Yamaha BB614, Hartke LH500, Warwick 4x10 10. Chris B 11. Cetera: Pre-Kramer Spector NS-2, Wal Mk1 Fretless, Fender/AllParts 70's Jazz, Tech21 Landmark600, GenzBenzNEOX212T 12.Andyonbass. ACG Recurve, ACG J-Type, Pair of BFM Omni 10.5's 13.Waynepunkdude Fender Jazz + DHA-DI-EQ 14.Jakesbass Alembic MK5 Deluxe, German Blockless Wonder 1880 Double Bass (and the '78 Jazz if anyone wanted a go) 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30.

I used UPS to ship a bass to Romania, I made the buyer understand that once the bass left my hands that he and the shipper/insurance would be responsible for any problems. I took photos of the bass to prove that it was in 'as seen' condition when packaged. I used harcase, bubble wrap, and a massive sheet of carboard which I fashioned into an outer shell with parcel tape. One happy Romanian. He is actually one of the mods on the Warwick forum and the bass was a NT thumb 5 from 1987

Thanks guys some food for thought there, I've enjoyed ogling the various flashy lighty shiny boxes Jake

I have no experience of it but the one that seems to really wow people with it's dedication to the natural tones is the Schertler, not cheap, but then I'm guessing neither was your bass I use an Underwood on my ply bass and a Realist on my Blockless Wonder, both through a Fishman Platinum Pro. Happy with both but there's always a little bit of something missing. Jake

Hi All, I'd like some suggestions for an interface for audio/midi recording for my new mac/logic set up. So far I have had Edirol mentioned to me. I have a focusrite octopre which will be serving a few nice valve condensers. I will be looking to have the facility to record drums at some points so would like enough inputs. I like the idea of firewire. any suggestions gratefully received. Jake

There is something in what happened that didn't work for them, if knowing what that is is useful to you increasing your chances of getting into the next thing then it's worth finding out. Otherwise just move on.

Welcome to Basschat, we have mostly uk members here so it's nice to have a voice from your side of the Atlantic. Hope you enjoy this place.

[quote name='therealting' post='543864' date='Jul 18 2009, 11:17 AM']Fly with an inexpensive, easily replaced instrument that you wouldn't panic about losing / getting damaged.[/quote] Thats fine when you are just taking an instrument for a bit of a blow but when you are working with a platinum selling artist you might feel a bit underserved by an OLP or some such other cheap gear, and you risk appearing unprofessional and therefore losing the gig. (and before you ask, yes, the last gig I flew to was with a platinum selling artist)

The starting point for learning to read and spell chords is to relate the notes of a voicing to the root no matter what octave they are in. This approach just gives you the actual notes of the chord, once that is established (as was pointed out by the Major) you can choose to put the notes in whatever order or octave desired to produce an effect. It's worth noting (and understanding) that intervals outside the first inversion octave are referred to as compound intervals: eg 1 3 5 7 is a first inversion maj7 chord, 2 4 6 are the notes inbetween but once outside the first octave are referred to as 9 11 13 ie compound, whereas 1 3 5 7 are always 1 3 5 7 no matter what the octave (with the exception of 10ths in bass parts or piano left hand voicings, although that's more to do with the interval) It's also worth noting that when the chord symbol reads eg F9 or F11 it assumes a dominant 7th, so if a Major 7th is required it must be denoted with the insertion of maj (or a triangle symbol, confusing I know) between the letter and the number: eg Fmaj9 or Fmaj13. The voicing of [i]your[/i] chord is quite an open one, and sounds a bit different to a simple stacked up 6/9 no third chord. It's all about flavour... To the OP I realise you probably understand most of what I've described but I thought a sort of baseline assessment might be useful for anyone else reading this... so as usual folks, if you find my explanation as clear as mud PM for more details or ask a question here Jake

[quote name='iamapirate' post='544374' date='Jul 18 2009, 10:13 PM']Bah, I dont think any [b]real[/b] bassist plays for the sole purpose of money.[/quote] I'm a real bassist sonny and it's been paying my bills for 20yrs. I have my tongue in my cheek as I'm sure you're joshing but.... my bass playing would kick your ass around the block mate...

Makes me fume with rage.... THE BASTARD!!

[quote name='leftybassman392' post='542715' date='Jul 16 2009, 10:44 PM']Couple of things about selling gear that you need to pay attention to (and lots of self employed people are kind of lazy about this); [b]when you sell it the proceeds from the sale get added to your yearly income as a single amount [/b]- whether or not you made a profit on the subsequent sale is irrelevant for tax purposes. If you don't declare the sale you could be in trouble later.[/quote] I don't think thats exactly correct, I think in fact the sale price gets added into your capital pool as a positive amount eg if your pool was 4k and you sold equipment for 1k your pool is now 3k. Last (tax) year I sold a bass for a profit as I'd owned it for 20yrs and I was advised by the (very helpful) people on the HMRC helpline that this was the correct course of action.

[quote name='Waldo' post='542246' date='Jul 16 2009, 01:59 PM']Great chops but does nothing for me[/quote] my sentiments exactly

[quote name='Doddy' post='537547' date='Jul 10 2009, 09:56 PM']I disagree with the method of just ploughing through.[/quote] As the Major very kindly pointed out I was referring specifically to sight reading practise. Hence my saying "When practising [b]sight reading[/b]". I can't stress how important it is to be in the right place at the right time. Obviously, when learning to read rhythms and intervals slow, repetition is very important.

I think the two most important elements in sight reading are always knowing where you are (therefore counting very consistently) and looking ahead in the music. If you are looking at the notes that are due [i]when[/i] they are due, it's already too late. When practicing sight reading avoid the tempatation to stop and replay mistakes as this makes for disjointed playing, it's better (at first) to plough on through ignoring mistakes but getting to the end of the piece in time, after a few goes the errors will be ironed out. At first pass plenty of players will make one or two mis-judged moves, but keeping your place in the music when this happens is critical in a band situation. The band will not stop just because you have. If you are playing with a conductor always have a line of sight that contains your bass neck, your music and the conductor, that way when you look up to see where the downbeat is, all that is involved is a raising of the eyes, having to fully move your head makes it much less likely that you will look back to the correct point in the music. (Although I pretty much can play without looking these days)

8000 people are facing you and moving to your groove

[quote name='hubrad' post='487076' date='May 13 2009, 05:16 PM']We're going to need a bigger bridge! [/quote] Wait til you see the rest of the bass!!!

[quote name='Lownote-LA' post='532346' date='Jul 4 2009, 11:36 AM']I would recommend that you give them a try. Even if they turn out not to be just right for your instrument, the demand for these strings used is quite high and you would be able to get a lot of your money back if you sold them. Cheers, Erik Hansen Scotland[/quote] Hmm.. your mention of a big fat fundamental is making me want try these guys out. Thanks Erik and nice to see you around here (not seen you before)

[quote name='Major-Minor' post='531525' date='Jul 3 2009, 11:31 AM']What a small world it is Jake ! I know all these guys (except Dave Edge). And I did a dep with Casablanca Steps in the 80's. I was in a band with the wonderful Steve Gilbert from 1970-72 - we were very green then. 3 nights a week in a Mecca tho' taught us a lot. Then a summer season in Blackpool, US bases in Germany and then i moved on to a 5 nights a week Mecca in Leeds before getting my job at the Beeb. Did you know Steve had to stop playing several years ago due to RSI ? I have heard he is just now getting back into a bit of playing. I met Vinnie Parker when I was 18 playing my first gigs on BG. And I played with him just a few weeks ago - what a great yet modest pianist he is - one of our insung heroes in my book ! I occasionally depped with Tony Christie when Vinnie was his regular keys man. Haven't seen Les Bolger for many a year - is he still around ? Last I heard of him he was teaching in L'pool. Nice to converse with you too Jake. The Major[/quote] How does the joke go...? It's a small world but I wouldn't want to hoover it... Especially in the music world it is [i]very[/i] small. I have had contact with Steve throughout his RSI problem and am pleased to say that I have gigged with him since he started again (one of the first bits of playing he did in fact) Steve is a very close and dear friend and as you know one of the finest drummers on the circuit. I make a point of seeing him on my frequent trips to Manchester and will be going for a pint with him in a couple of weeks when I'm up playing at the Tatton flower show. I totally agree about Vinnie, a real gem of a player lovely ideas and great sense of the right harmony. And Les Bolger... yes still teaching in Liverpool. Well I'm glad you've joined the ranks here Major your experience is being felt in a most useful way around here, I hope your regularity here remains. Jake

[quote name='Ian Davies' post='531366' date='Jul 3 2009, 08:24 AM']However I did find the strings to be very rubbery and although the low tension made them easy to play the rubberyness (if that’s a word?) made them quite hard work - I felt I had to really pull the strings to get them moving. Also they seemed a bit harsh on my fingers.[/quote] Hi Ian, not seen you before so firstly. Hi. I've been watching this thread with interest, it's really good to hear of peoples experience with strings as (I'm sure you know) experimenting is damned expensive. I have a set of innovation silver slap on my jazz bass, they are very flexible, nice ping and not rubbery (in the sticky sense) although they are prone to choking a little if I pluck very hard. I'm not much of a bowing guy but the arco I have done sounds quite full on them. Thanks for sharing everbody Jake

[quote name='Major-Minor' post='530766' date='Jul 2 2009, 04:15 PM']So where did you play in Manchester, Jake ? And who were your regular cohorts ? I've been in this city for all my working life so we must know some of the same people. The Major[/quote] All the hotels, country houses etc and the various Jazz venues that have existed over the years the Manchester jazz festival and the more concert type gigs in places like the RNCM and Band on the Wall I played a lot with Les Chisnall, Dave Edge, Roy Powell, Mike Walker Iain Dixon Andy Schofield, Andy Scott Richard Wetherall, Steve Brown John Ellis, Steve Gilbert, Dave Hassall, Vinnie Parker, Les Bolger, Andy Pryor.... the list goes on and on. I did quite a few of the rhythm section and visiting soloist gigs. For 10 yrs I have worked with a musical comedy act called the Casablanca Steps which in the last five years has had London management and works in London, the south east and abroad a lot so I moved to just outside London in '05 to be closer to work and airports, and as is the way of things have ended up doing quite a bit of freelancing work down here eg a fortnight ago I did 2 days in Germany with the virtuoso violinist David Garrett which was depping for a very fine bass player called Tom Mason. I'm guessing you play with the beeb or Halle (I know Maurice Stemp and Bill Kerr quite well as I used to be on the MU committee when it was in Canal St) Nice to meet you properly Major. Jake

It really is that simple, but here's an elaboration: I can play songs that I have only heard (never played before) because my ear-finger relationship has over the years become very quick. I will listen to a song be able to sing the bass line, once it's firm in my head which [i]can[/i] be as few as 2 or 3 listens but usually more, and then I will be able to play it through with maybe one or two adjustments or close listens for the odd awkward note. And it really boils down to being able to sing the bassline

Sing the bassline.

Personally I don't really want to do more than a couple of solos per gig.