jakenewmanbass

Bought a Schroeder 1212L from Rich early yesterday on my way to a gig. It sounds amazing and he was a top fella to deal with, had time for a brief but very nice chat too. Jake

[quote name='dlloyd' post='253969' date='Aug 3 2008, 10:24 PM']Does anyone have any experience of the Stentor 1438? I'm looking to get my first Double bass, and to buy something I can reasonably expect to not let me down on a gig.[/quote] How much are you looking to spend? Tallboy has a good starter instrument for sale iirc. Never played a Stentor but never heard any bad things, they are what they is... which is cheap.

[quote name='mcgraham' post='253157' date='Aug 2 2008, 09:50 AM']Why thank you [/quote] You're welcome! [quote name='mcgraham' post='253157' date='Aug 2 2008, 09:50 AM']BTW, thank you for sharing your experiences Jake. I, for one, really like hearing experiences garnered by someone who actually makes a living out of performing and teaching music, especially someone who has done this in several genres, scenes and even different countries. My proverbial hat goes off to you my friend! Mark[/quote] I am a musical whore no doubt.

[quote name='OutToPlayJazz' post='253079' date='Aug 2 2008, 12:51 AM']Well, to put it another way, I'd like to know how many of you who have been arguing out this thread actually know what you are talking about? How many of you actually earn your living as professional musicians or music teachers (or both!)?[/quote] Definitely know what I'm talking about. Pro for 20 yrs and teacher for nearly as much. [quote name='OutToPlayJazz' post='253079' date='Aug 2 2008, 12:51 AM']I only ask as some of you really have been talking utter bollocks AT eachother Getting along is sooo much nicer than all this conflict. *Wanders off muttering, "Feels like the bloody Middle East in here..."*[/quote] I, personally will tolerate a bit of trash talking and ill educated point scoring for three reasons. 1. The debate is being had (so is worth some of the crap) 2. Those that make the poor points etc might actually absorb a little reason by influence of those that speak moderately and with sense. (I do include myself in that) 3. Disagreement can be a very healthy route to finding about stuff you didn't already know.

[quote name='mcgraham' post='253093' date='Aug 2 2008, 01:10 AM']Jake, it was a point I've mentioned briefly in another thread [/quote] Nicely developed points Mark

[quote name='BigRedX' post='253125' date='Aug 2 2008, 07:34 AM']If you are interested in one of these, I am probably going to be selling mine. Only thing to be aware of is that it needs quite a hot input signal from the preamp to get the maximum output from it.[/quote] I would be interested in this, assuming that the hot signal you speak of woud be generated by my Alembic pre and the price is reasonable. How much are you looking for? Cheers. Jake

[quote name='mcgraham' post='252799' date='Aug 1 2008, 02:43 PM']There are few things I find more depressing than seeing inept/complacent/poorly skilled musicians making an absolute fortune, whilst committed/dedicated/talented musicians struggle to make ends meet (saying nothing about songwriting ability). The only thing I can think of right now that is more depressing than that is that the public (in general) have difficulty discerning the difference between the skilled and the unskilled.[/quote] Mark, it strikes me that you have possibly unknowingly, in your comment above, pointed out a very significant factor in the public's appreciation of music. I feel some musicians have a tendency to shake their heads in disapproval at the ignorance of their audience. Having worked not only in music but also to a degree in entertainment I have to say that I find that attitude somewhat wanting and slightly arrogant. If people want to be grand exponents of great art they should in my view realise two things 1. they need to be at the top of their game in expressive ability on their instrument. I'm using a world class measuring stick when I make this assertion, so in the UK you are talking a handful of musicians, John Taylor, Kenny Wheeler (Canadian born), Mike Walker, Django Bates and a few others 2. if they are not at the top of said game they can expect to be of very little entertainment value to all but a very tiny proportion of music listeners (worldwide, let alone in the UK) and should IMO be grateful for the opportunity to make what is often a phenomenal din in trying to attain the aforementioned top of game position, in public, and sometimes even getting paid not only by venues but very often public funding. The disdain with which many musicians regard the public view of what they do is staggering to me, talk about biting the hand that feeds you. If you are a top of the industry monster player who can on a whim, lets say, change the history of music then I can see how, like Miles Davis you may develop a slighty larger sense of self than is warranted for most... I think I make myself clear. I'm trying to say that musicians of this ilk often (particularly in the UK) lack humility and positively alienate audiences by playing unutterable tripe in some vain effort to be the next Michael Brecker, Herbie Hancock, Miles, Dave Holland etc etc I play and have played Jazz that is to many like some of the material I have mentioned above, I don't expect anything other than my own enjoyment from doing the projects I have been involved in. Pay and audience enjoyment are a bonus for which I humbly strive . As musicians if we don't recognise the entertainment element in our output then we condemn ourselves to audiences of four blokes and a whippet who are deaf and don't mind the music 'cos the beers cheap. As for the "poorly skilled" whilst I don't condemn you for being depressed as you point out, I don't think it's fair to begrudge an individuals success (financial or otherwise) becasue they provide large numbers of people with something they enjoy. IMO that is no less worthy. I could go into the social merits of music, and how marketing makes people [i]think[/i] they like stuff etc but whilst that, as an argument has merit, I feel it will only weigh heavily on the conversation. Jake

[quote name='The Funk' post='252412' date='Jul 31 2008, 11:05 PM']Sorry, that was completely unhelpful of me. At least it did remind me to go look it up later for you. [url="http://www.bkelec.com/Pro/Amplifiers/MXF1200D.htm"]Here you go.[/url][/quote] Now [i]that[/i] was helpful. Cheers TF

[quote name='The Funk' post='252255' date='Jul 31 2008, 07:05 PM']There's the 1U power amp that Dood and CK speak highly of. Can't remember who it's by now![/quote] uhhh thanks.... I think ?

Ok so further to my earlier question I have gone with a Schroeder 1212L kindly provided by fellow BCer RichBowman (collection Sunday) So I'm down to a power amp to acquire. I have heard the obvious like QSC etc but here's the thing. I will be using the Alembic Pre for all my gigs cos it's the Mutts Nutts, surely power is power? I want light and 1U only. let me know your thoughts now I've put another jigsaw piece in place. Cheers Jake

I've done tons of recording and I would say that it's unlikely to be very useful.

[quote name='Huge Hands' post='250259' date='Jul 29 2008, 10:38 AM']Jake, was this a one off?[/quote] 'Twas I'm afraid

[quote name='WalMan' post='247797' date='Jul 25 2008, 01:36 PM']I know of a band on our circuit that played a gig they had been doing regularly and to a full hose.[/quote] I always try to keep my hose full, doesn't work too well otherwise

[quote name='bilbo230763' post='250332' date='Jul 29 2008, 11:53 AM']Did a function gig in June at a MAJOR London landmark. Signed contract in the bag. Still didn't get paid and the promoter has done a runner with the £140 a head agreed fee. MU are on it but I don't expect to see a penny. The law is not set up for little people to recover little sums of money. [/quote] Name and Shame pls... Thats a low fee too, I expect promoter has sold you on at a lot more than that (unless it was a 40 piece band) The Union will achieve a county court judgement for you, getting paid is another matter altogether, it would be of service if you could let us know how this transpires. Hope you get sorted Jake

Bob Cranshaw is another hard swinging electric player (he plays upright too) There is a bass player in Preston called Gary Culshaw, swings like sh*t off a shovel. He was my tutor in college and although I mostly play upright for jazz now I don't mind saying it's the one thing I am sure I do well. I can swing just as hard on electric as upright. Sounds different but the feel is there.

[quote name='tonyf' post='249937' date='Jul 28 2008, 08:52 PM']However, we ventured into PMT in Brum a few weeks ago and tried out a ABM810 and ABM EVO-III 500 head. Plugged in a Precision and bloody hell, what a sound. Soooooooooo crunchy and punchy, loads of top end articulation and a world away from the "wool" i expected. So valve sounding, really warm and gritty. Instant love! So much so that I'm now looking at possibly shifting the EBS stuff, something I would have never believed I'd be considering a short while ago. T[/quote] Thats pretty much how I felt. I auditioned for a teaching job at guitar-x in acton and tried my then brand new Alembic through an ashdown stack they had there, it sounded absolutely sh*t. But then the gig on Friday I mentioned earlier, the combo was the best I've heard for the Alembic by a margin.

Bumping this topic for Bilbo as I think he/you were away when I posted. Check Jimmy out Waaaaaaaaaaaaaaaaaaaaaah!!!!!!!

Walter Becker. Famed for his song writing partership with Donald Fagen (I'm sure most of you know) in Steely Dan. His bass playing for me somehow suits the music better than some of the session players they've had in, and they've had most of them.

[quote name='bilbo230763' post='249456' date='Jul 28 2008, 11:15 AM']He is putting the execution of each piece before its inherent qualities as a piece of music. Its a kind of 'look, I can play pretty ballads on the bass' without recognising that the performances aren't actually very pretty and that the beauty of the material he is using is in their lyrics and not their melodies.[/quote] This is endemic in the genre at the moment as far as I'm concerned he is not alone. I can't think of 1 'bass' album I would listen to twice. No music, just playing. I don't include bass players as composers/leaders in that, notable example of good stuff, eg Bass Desires Marc Johnson [quote name='bilbo230763' post='249456' date='Jul 28 2008, 11:15 AM']He needs a good producer.[/quote] So does Marcus Miller.... no wait..... It's just business, they all want to capitalise on their 'name' and with companies willing to have a punt because they are, or have been, famous session dudes. I'm being facetious, but being great players and sometimes producers does not mean they are automatically going to create works that wil live on. I don't blame them for earning a crust in a fad but I am just not into the whole 'bass on top' thing apart from in a few very particular compositionally appropriate circumstances.

[quote name='phatbass787' post='249248' date='Jul 27 2008, 11:43 PM']Tight nylon grill? That sounds like a Klystron not an ABM as the ABM's have a metal grill. Was it this one? [url="http://www.ashdownmusic.com/bass/detail.asp?ID=180"]http://www.ashdownmusic.com/bass/detail.asp?ID=180[/url][/quote] It wasn't, but the grille [i]was[/i] like that, it had the controls on the front, it definitely said ABM on the front I just can't quite remember the numbers after the ABM---?

[quote name='bass_ferret' post='249202' date='Jul 27 2008, 10:37 PM']What was the speaker config?[/quote] It had a tight nylon grille so I couldn't see but I would guess at 4x10 as it was quite a big cab area but not very deep. Only a guess tho

I had the unexpected pleasure of playing an Ashdown ABM 500 (?) I did a gig at Canary wharf in the park in the middle (so outdoor stage) and the provided backline was the aforementioned Asdown combo. In the past I have nodded and agreed with threads that have said they are wooly. Well Jeez this one wasn't, I don't know what the difference was with the last one I played but this one did great service to my Alembic, the bottom was tight and defined and the mids and highs were smooth and audible. I know a lot of it is down to the bass but it was more than just ok I thought it sounded great. So now this adds to my headache of choosing a rig DRAT!!