jakenewmanbass

I agree with The Funk and Jennifer re one finger per fret, I employ it where comfortable but I'm just as happy to combine 1 2 4 and 1 2 3 4 slipping between the two without much thought. (probably as I am a double bass player) I should have been clearer regarding that in my original post. P.S I have very long fingers and, in fact can achieve 1 2 3 4 on double bass although I don't use it as I was taught traditionally.

I'm afraid I think the technique of the guy in the vid is not something to aspire to. When using his little finger he makes a movement of over an inch between playing a note and then using his third finger and when doing so curling his little finger up and completely moving it away from the fret board, you will struggle achieve speed and dexterity with that kind of movement, it should be tiny movements and when the finger is not in use it should hover milimetres above it's station (based on a one finger per fret principle) Aspire to minimal movement when fretting and when you take your finger off the notes leave them very very close to where they would naturally sit ready to play the next note, it's the control of having your hand in that position and at the same time realxed that takes a bit of mastering. A little knowledge can be a dangerous thing, you've done the right thing asking here...

[quote name='MacDaddy' post='457196' date='Apr 8 2009, 11:18 AM']I hate the way the Yanks do it, 8th notes, quarter notes etc... I've seen it creeping into some guitar mags here, especially in the notes to tabbed transcriptions.[/quote] I like that system as it's logical and easy to work out, whereas if you are not too adept at memory it's difficult to commit with non relevant names. I am much better with logic that gives you the chance to work stuff out and terrible at reading and memorising material. I am an aural tradition learner.

[quote name='urb' post='454785' date='Apr 5 2009, 05:19 PM']While I also recommend listening to every and any type of jazz to see what you actually like the best thing to do to actually 'get' jazz is go to a gig and see how it's played live. Jazz is about live performance, it's where it all happens so while I enjoy hearing stuff on record I much prefer to see and hear it live.[/quote] What Mike said is exactly it.... many people who don't like the sound of jazz at first get into what it's all about by going to a gig. once you appreciate just how skillfull and fantastic it can be recordings of great players will mean a lot more to you.

Most of the advice here covers everything so I don't have much to add, most of my work is 'covers' in the shape of functions corporates parties etc etc but the outfits I work with cover a wider range of material than an average covers band (ie from circa 1900 to the present day). The only thing I would say is I have found that I enjoy playing more material than I would expect compared to my listening, I enjoy playing many songs that I wouldn't really listen to, even the hated Mustang Sally, as if you're in a band with top notch players a great groove is a great groove (to be fair it's rare that I play it though) most of all I just want to say have a good time doing it, and I'm pleased that the guy who sent me a PM saying he was nervous about joining a band appears to have caught the gigging bug big time

Very light, which increases facility considerably. I can dig in for certain sounds if necessary and being an upright player too I'm used to using a variety of dynamics.

Hi Mate so sorry to see your bass all broke like that, I have been told by luthiers that they are all wood and glue so really any break should be repairable and AFAIK (I'm not an expert) the joints can be stronger after repair than previously. find a good luthier and find out whether the cost of the repair makes it worth keeping it alive. I had the same thing on a crappy old ply bass that I paid £450 for I just claimed on the insurance and got an Antoni for £670 that lives in the band wagon. Best of luck and I hope you get sorted. Incidentally is it you or a third party that is responsible for the damage?

I started out on BG at 8 yrs because my brother had one and was in a band. I got in bands really young (9 or 10) and in school Double was the only Bass instrument, my teacher played gtr and BG also so it was a really good beginning. I left the DB for a while after school and then got back into it at music college as second instrument, now for the type of work I do it's equal first instrument with BG although I'm not good enough on it to play orchestral music, I can do bits of arco up to show standard, but I swing pretty hard.

[quote name='ARGH' post='439671' date='Mar 19 2009, 08:19 PM']I think you are talking about fitting into a sonic pocket.....And it can take a lifetime to find it... Think how Jamerson had it,he came from the upright players perspective,where you HAD to make the instrument work....you were the volume..you were the tone,and there was no hiding the fact.... I feel I would have rather learnt the Bass that way![/quote] I also meant to say that... I have always felt that playing upright has taught me how to [i]work[/i] an instrument so when you amplify it just adds something.

[quote name='bass_ferret' post='439654' date='Mar 19 2009, 08:05 PM']Thats not to say you need this gear to be articulate. Jamerson was articulate with a P bass and flats, firstly because of his superb technique and also because the bass was so high in the mix on Motown records, something that made the records stand out at the time and in away was responsible for the bass coming to be such a significant part of the sound of modern music.[/quote] You raise an interesting point especially regarding the articulation of Jamerson who's gear was to die for IMO, a nice beefy, 60s P through a weighty ampeg. It is precisely the articulation of the rhythmic aspect of his playing that draws people unconsciously and consciously to the music. He grooved so hard and whilst playing very diversly, and the fact that as well as a monster groover he had a great sense of melody and counter melody all wrapped up in a supreme ability to never get in the way of what went on above him. It goes beyond accuracy, and cleverness, and technique it is musical, and indeed articulate and it came mostly from the man. That said my current gear provides me with exactly the same feeling as you describe of comfortably hearing, and more importantly feeling, what I am playing. My Alembic has such a hefty kick in the bottom, I played it direct to PA in the indigo2 (02 arena) and it shook the room without interfering with the song.

[quote name='Eight' post='437263' date='Mar 17 2009, 01:48 PM']You're tarring me with someone else's brush.[/quote] Not my intention, the sentence I attributed to your quote was the one stating I felt you used good logic to support your argument. I then went on (separated by two full lines) to join in the rest of the conversation which is where I came in with "the problem with this argument....." so not [i]your[/i] argument but the argument in general that was being had in the thread

[quote name='Eight' post='437114' date='Mar 17 2009, 12:23 PM']If you're reading this, I'm willing to bet you're not a musical genius. In which case, basing your musical education on the activities of 0.001% of musicians might not be the soundest advice. If you're one of them, you'd already know it by now and wouldn't be here reading this thread to worry about it.[/quote] Great logic and very compeling evidence for a solid approach to learning. The trouble with this argument is that those that are happy having a good time in music feel attacked by people who take it more seriously. I don't see a lot of evidence for some of the claims about JB or STs views other than they don't understand why people go for lessons and then don't want to do the work. When I taught at university I got seriously hacked off at lazy students because it's entirely possible they would be denying a good student a place having got through audition on some non related exam results. I would simply assert that if you want to play music for fun then it's available to you to acquire the standard you feel comfortable with. On the other hand if you want to compete for work with some of the better musicians out there get your sh*t together.

Hi Deaky, it really depends on the age and playability. As ply basses go Kays are generally very good. Have a scout round some of the bass sellers and look at online prices to get an idea of the value, they can be quite sought after. Best of luck with it. Feel free to PM me if you have any further questions. Jake

Sorry if this is an unwelcome post but I've been playing bass for nearly as long as I could walk. (I can still do neither when over lubricated) In all of the posts above I understood two words: Valve and Amp. Were do you guys get all this knowledge from?

[quote name='chris_b' post='432324' date='Mar 12 2009, 12:28 PM']Are you talking about tapping or ghost notes? They are very different things. Ghost notes are as Funk says, play the note properly with the right hand and don't push fully down to the fret with the left hand.[/quote] exactly

[quote name='The Funk' post='432314' date='Mar 12 2009, 12:23 PM']Wait a sec. You're not trying to mute with your right hand are you? You should be "muting" with your fretting hand - and I wouldn't even call it muting. You just don't fret the note fully.[/quote] exactly

I would love to offer but I'm back from Bahrain the night before (flying overnight) so will prob be a bit of a space cadet. Check out Nick (doctor of bass) or some of the Birmingham guys eg Funkymunkey

[quote name='Crazykiwi' post='431262' date='Mar 11 2009, 09:13 AM']I think it has been posted elsewhere. We have a fair bit of spare space on the BC server so it might be worth Phatmonkey dropping him a line and seeing what the score is.[/quote] Thats a nice idea, I wonder if it could be extended (with permission) to a wider pool of players?

Just keeping this up so plenty of peole see it. Hope noone minds

She is the business IMO, it's heart and feet and soul music. Not just for lofty ideals (although she is articulate), just move with it. It's the earth, it's sh*t, piss blood, guts, tears and sp**k music.