jakenewmanbass

Kind thoughts and offers guys but the gig is next week and I'm working every night up till then. (which is good for me obviously) Cheers Jake

Hi all, I have a gig coming up in Germany and to save on flying my Alembic (as I don't like to fly it without a seat) the promoter is providing me with a five string Fender Jazz (some of the parts go down to low C) Any one played a five string Jazz? What are they like? Jake

Lovely part that Bilbo. Reading semiquavers at that tempo is very good practice, I guess those classical guys see those phrases as sentences, I'm afraid I'm not that disciplined and have to go through those passages slowly. Thanks for the transcription mate. Jake

He He... there are a few people here that would expect me to chime in here. First of all you can't get ideas out without first putting them in. You need to absorb melodies and patterns and licks that you can create (hopefully) cogent solo ideas from, once you have been through that process which can be a slow one, and never ending, then you are in a position to attempt to express those ideas on your bass, I've said this before.... you must be able to sing an idea and play it instantaneously. It takes dedication and massive exploration on your instrument but to my mind, to be able to excecute well formulated ideas is one of the best achievements playing has to offer. Obviously in a thread on a forum it's difficult to portray the depth and integrity required behind my words, but I'm sure others will offer some thoughts of their own and the whole lot will add up to something useful to you. Jake

PM'd

[quote name='tjkennelly' post='506748' date='Jun 6 2009, 12:38 AM']I'm not sure if this is the right place for this but I'm wondering if anyone has the same problem as me. Whenever I play, my little finger on my left hand always locks and it takes a moment or two to shift it back and out of the way, putting me off completely. As a result I've developed the technique to only use three fingers on my left hand (disgraceful, I know) I was just wondering if any other basschatters had this problem and how they got around it if they did Tim[/quote] Firstly using three fingers is not disgraceful just not ideal, but many people get by with it. The locking is usually due to playing with your fingers too straight with the middle joint clicking into a straight position under the stress of applying pressure to the string. The best approach to undoing this is to slightly change hand position as follows: 1. With you palm facing upwards cup your left hand as though holding a fat baton. 2. gently curl the top of your fingers so that the tips face the tip of your thumb. 3. keeping relaxed place the neck where the imaginary baton was and move the tips of your fingers towards the strings with your thumb resting gently against the back. 4. use the natural weight of your arm to pull gently (rather than squeezing) in a line towards you through your arm into your hand and out through your elbow (thats an imaginary line) Maintain this position when applying pressure to the strings and if you keep your fingers gently curved you should eliminate the locking problem. best of luck with it. Jake Obviously it's difficult without showing you exactly but I've explained as best I can.

[quote name='bassace' post='505470' date='Jun 4 2009, 01:54 PM']Jake I've sorted the Fishman. Not sure I want to part with the Realist just yet but will happily let you have it on long loan. I'll bring it to Upton. I'm playing Friday with Dave Moorwood and Sunday with Richard Leach. It'll be good to meet up for a chat.[/quote] Glad you're sorted mate, would love to try the Realist out. Look forward to seeing you, We are usually the first thing on in the main tent (around lunchtime I think) I might hang around for a little while after so would be good to meet up. cheers Jake

Hi Bassace, if you find a Fishman to buy ratherthan swap, I will buy the realist from you. I haven't tried one yet and I could get it from you at Upton if it works out... let me know how you get on. Jake

I think everyone is down on bookings Nick, I've got less this year and most people I've spoken to on the freelance scene say 'a poor start to the year' I've been saved by some overseas work and spreading myself across a few bands, If I hear of anything I can pass your way I will do. (as usual when it's quiet you sometimes get offered 3 gigs for the same day ) Hope it picks up mate Jake

Thanks so much for all the detail in this It's really great to see this much work going into capturing sound. I have been lucky and worked in some great studios, the best of which are Air Lyndhurst, Angel Islington, Parr St, and Guy Chambers' personal studio in Highgate. I would love to 'hear' how your room ends up. Keep it coming, I'm fascinated.

The only PM I've had from a Mod was thanking me for my level headed contribution to an otherwise quite slangy debate. So do I get an anti warning strike? Also is there an award for smug git?

[quote name='Crazykiwi' post='503711' date='Jun 2 2009, 12:43 PM']but the huge sound is what Alembics are famous for and they don't have a cult following for nothing.[/quote] Exactly... I played the Indigo2 at the O2 Arena (holds about 2000) bass->P.A. The building nearly collapsed in soundcheck. had it been any louder (all down to the soundman) there would have been a death toll!

Well done mate. Is he a relative of Martin France by any chance? Jake

[quote name='OutToPlayJazz' post='501141' date='May 29 2009, 05:49 PM']*Gives* Jake the BC "SUPER-TEACHER" medal! <GRIN> Well done, Jake - Seems you're making a big impact down there in the south [/quote] Cheers

[quote name='mantekka' post='502132' date='May 31 2009, 10:39 AM']A few options at [url="http://www.thomann.de/ie/search.html?gk=trstka&bn=&pr=800a1200&kf=on&oa=pra&wgfid1=9618&wgf9618=3%2F4&wgfid2=9619&wgf9619=4&wgfid3=7424&wgfid4=9616&wgfid5=7425&wgfid6=9617"]Thomann.de[/url][/quote] I'd be surprised if any of those basses were anything better than mediocre at best

Unless you're lucky I would think that you will struggle to get a proper fully carved instrument for that money. The point really, at that budget, is how does the instrument sound, whether it's laminate, carved wood or plastic for that matter. To get a really nicely crafted instrument with a strong fundamental tone will cost 10K plus (unless you're really lucky) Old instruments are generally recognised for what they are and since the massive export to the US of tons of old instruments in the last 15yrs the prices have risen steadily. To get a new fully carved instrument by someone who can really make wood sing you just have to think of the man hours put into making an instrument (It's a lot) urgo the price. So.... IMO at your budget don't think about provenance or how it's made just try some basses and choose the one that sounds right. (or start saving)

Stop it before I piss myself I've met a few players that sound like that!!

[quote name='Crazykiwi' post='500594' date='May 29 2009, 09:00 AM']sgh - what does the switch by the output jack do?[/quote] Must be the LEDs, the other 2 are Q switches as they are signature electronics. unusual place for it though. They do say every Alembic is unique

[quote name='bilbo230763' post='500628' date='May 29 2009, 09:58 AM']Hadn't gigged for a month before a jazz trio gig I did last night. Sounded like it [/quote] Lol, and fretless too....ouch. You'll get it back brother.

Thanks guys, it's great that my sometimes incoherent ramblings seem to make sense to you fellow bass nuts.... We are a special breed. And seriously I am really grateful for the kind words, I'm lucky enough to have had a bass either hanging off me or standing in front of me for the majority of my working life, so I'd be a fool if I hadn't noticed a few useful tips for those who have not had hold of one for so long

[quote name='MacDaddy' post='499635' date='May 28 2009, 10:06 AM']so if there are 6 of them, shouldn't they be 6ths? They are only 8ths when you have 8.[/quote] Not really... you're confusing straightforward maths with a 'term', an eighth is a description of duration and it has as much to do with how notes are grouped as anything eg 6/8 can be grouped as 2 3s or 3 2s giving an inner pulse to the bar, or a driving 8ths feel to a rock bassline, or a slow inner four with a triplet feel in 12/8 (one of my fave feels) The bottom number simply lets you know what the note looks like (ie stem with single tail) the top number tells you how many there are in a given bar. For me the bottom line is that the terminology is irrelevant and not worth twisting knickers over, just be au fait with all of it then you can explain yourself well to all comers.

[quote name='Oscar South' post='499283' date='May 27 2009, 08:46 PM']Alexanders Jazz Bar in Chester on 1st June,[/quote] I did the opening night in that venue back in 1990... I was getting blisters on an old college bass playing standards with a vocal quintet, which split into two trios. Was good fun, there was another band on (The Casablanca Steps) I am now their main bass player, and Bob Monkhouse did the end of night cabaret. The vocal group went on to do a years residency there on a thurs night and I also played there with many jazz quartets (visiting artist) including with the late great Dick Morrisey, Bobby Wellins, Don Weller, Spike Robinson, and quite a few others on the british Jazz scene. Are Christine and Rod still running the place? Jake Sorry I realise it's entirely OT, hope the gigs go well

I sold an 87 warwick thumb 5 thru to buy an Alembic MK5 deluxe. Best move I ever made. I am a much better player because I now sound like I want to... result: I never put the Alembic down