jakenewmanbass

Hi Dan, welcome.

A very quick somewhat obvious (but oft overlooked until too late) chime in here. With all techniques related to actual sound production, depending on the level at which one performs, it can be important to ensure that the 'technique' is not taking over from how it sounds. My reasoning for this specific point is that, as a player and producer, I have lots of recording experience and have encountered in myself and players of other instruments a phenomenon. Get to the studio, play what you've been playing for sometime, realise one of the following or similar: There are extraneous noises emanating from the instrument resulting from hand /body movements (previously un-noticed) Bass players often hit the strings on the back beat causing a big thump where the snare should be. Inaccuracy causing fret noises. My point is, in concentrating on techniques always make sure you listen to the result, you might think you're ripping it up when you get your technique off to a tee but eg.. there is an uneveness between sounds produced by 2nd and 3rd right hand finger.. using thumbing produces a strong note, weak note due to the relative strengths of the two. All these possibles (you might suffer from none of them and then thats fine) can be a real pull up short if they only become exposed in the studio, and if you are being watched, paid and expected to produce the goods it can turn a fun job into a harrowing experience. If you consider these points it should give sight of two things, Quality control: you might be doing it well, but does it [i]sound[/i] good. Problem solving: If the answer to the above is no, then adjusting so that it does teaches you a coping mechanism for rectifying if you come across issues such as these. I am in no way suggesting the really good advice in this thread is ignored, this post is more an adjunct to what has already been said. How it sounds in the speakers is the final test and [i]can[/i] rubbish any technique.

[quote name='charic' post='205431' date='May 24 2008, 10:34 AM']Why has this not been used as a weapon lol.[/quote] it has

I've been a pro bass player (with a brief 2 jobs period) since leaving college in '91 and had already been supplementing my grant (remember them) by gigging in a cabaret band in the clubs in't North before leaving college. (I had been working as a semi pro from age 12 though) I have always had a practical and commercial outlook about earning a living, and being a father of 3 with a mortgage and being (by choice) the only breadwinner until Sept last (my 5 year old started school) I have had to be. You need to find yourself a regular paying gig, as Crez said ideal would be a function band on the gigging circuit, it's the most remunerative. If you want a good income you need do a few things. Sight Read anything (not absolutely necessary though I can read but I'm not a great sight reader) Play any style very competently Have utter confidence in your abilities and never blag when you think your limits might be reached. Be professional, on time, reliable, respond to calls, dress smart, be helpful, friendly. Live in or around London, I'm not saying there is no work elsewhere, but if you get good you will hit a ceiling anywhere else in the country (there are plenty of exceptions to this, I have a tendency to always want to trade up) I am speaking from experience I have lived in the south west, the Midlands, Manchester, Liverpool and now I'm within striking distance of London, and I network as a London musician, I work mostly nationally and frequently worldwide. (hence moving to near Heathrow) I have usually supplemented my income with teaching, not because I had to but because there isn't much to do in the early part of the week and I really enjoy it so I've had a few teaching jobs and still do private lessons Thats pretty much the world of the pro, paid to play. If you want to earn really serious money you need to earn while you're asleep. the only way to do that is by selling published copyrighted work, getting radio play and album sales all over the world from which you get a payment (royalties or mechanicals) I am involved in one or two projects that bring me nothing now but might in the future, I am able to do this as I can (for the first time) now say no to paid gigs in favour of committing to a project, as my wife runs her own music education business,and I can concentrate on projects with a long term goal. In doing this I am fostering relationships with mangement people and producers and playing the original music gig scene in London, when and if you get a chance to record it can lead to spin off work in studios. I have to tell you though you have to be very highly regarded, quick and very confident/capable to cut it in that environment. It has to be done NOW cos it's costing them a fortune, you need an unflappable manner and the ability to convince people that what you give them in terms of bass parts is the f***in' best they will get. Some producers will like you, some won't. You have to forge on regardless. I realise the above is quite rambling and is mostly example but it just represents my experiences. I am more than happy to be approached by PM with specific questions.

[quote name='the hand of john curley' post='205419' date='May 24 2008, 09:42 AM']Anyroadup, Top night, came away truly humbled, but bloody well inspired![/quote] And that's one of the most important lessons in how to improve as a bass player, indeed as a human being. Humility is a great learning tool.

There are people that don't like him, I'm not 100% smitten, but there's no denying he's good. My point is when you get up close to these guys you get a real sense of their talent, energy and skill. Which in my experience is always awe inspiring.

Lots of really nice handmade basses seem to have Mahogany cores, Wal, Alembic, Smith etc

Having something in common is a great start, and I'm going to be shamelessly biased and say in all my years of knowing musicians Bass players are the most likely group to get on so well, with drummers a close second. I think the lack of ego, the giving nature of the job ensures that certain types of people stick with and it seems in large measure that they are good people. So a big +1 for the OP. Basschat was bound to work cos it's full of Basschaps (and chapesses)

I've gigged with my wife for fifteen years or more (before married too) great for the family coffers double bubble.

I can see you have the hat wearing off to a tee OG surely it's plain sailing from there.

2 Alembic Series II five strings one fretted one fretless. Two 60s Fenders a J and a P (or good modern equivalent) Oh and a nice big old English or Italian upright

[quote name='peteb' post='203814' date='May 21 2008, 06:29 PM']You could always try the Stevie Ray Vaughan method, which is to superglue your fingers to the opposite forearm, leave to dry and then rip off – leaving a bloody forearm but an extra layer of skin and a layer of superglue on your fingertips![/quote] Or the sadistic version where you glue it to someone elses forearm

I voted for 2x12 because of the clarity, but I do also like the weight of sound produces by a fifteen. I've always felt like tens lack something in the middle, although I have only used SWR to make that judgement. Some of the best 12s I've come across are EV stage 200 (I think thats what they're called) PA cabs brilliant for double and electric up to a certain volume.

[quote name='Adrenochrome' post='203598' date='May 21 2008, 11:11 AM']I'd definitely advocate [i]some[/i] moisturising between playing to stop the toughened skin drying and flaking, not just before playing though![/quote] If that helps you then thats good advice, I guess it's horses for courses. I have heard some guys say their callouses dry up and drop off so maybe they are the ones that should moisturise!!

[quote name='pete.young' post='203595' date='May 21 2008, 11:09 AM']There are other strings specifically recommended for finger style with lower tension, but I can't recommend any as I haven't tried any recently.[/quote] Innovation silver slap are brilliant low tension, big sound but quite fat but you get used to that after a while. you can get them for less than 70 quid to which as upright goes is relatively cheap

[quote name='Adrenochrome' post='203585' date='May 21 2008, 10:55 AM']In the long term moisturise the callouses/hard skin to keep it flexible and less likely to drop off.[/quote] I have heard that advice too, I have also people say "noooooo don't moisturise!!" so mixed reports there. As I said I don't get callouses so it's not from experience, only hearsay.

[quote name='Huge Hands' post='203540' date='May 21 2008, 10:05 AM']I have threatened all members of the band with death if they don't watch their levels,[/quote] Of course you could carry the threat out and definitely be heard

I have the greatest sympathy for you HH I had massive problems of exactly this nature when I started gigging on upright. I tried Surgical spirit but there was no discernible effect. I have the type of skin that toughens rather than callouses so in the short term thats difficult (blisters every gig) But long term seems beneficial as the skin just seems tough and is not raised up into large lumps like I've seen on some players. People who callous have told me that the danger is they can fall off if allowed to get too big, revealing softer skin underneath and the process starts again. The only really solid bit of advice (or solace) I can offer is, if possible avoid bursting the blister as the fluid inside it seems (to me) to have a very effective toughening effect on the skin underneath which obviously with the passage of time becomes the top layer. I was quite disciplined with that (v difficult though) and maybe thats why my skn is so tough now. I do from 2 to 10 gigs a week now on both instruments and have not had a blister in years. Best of luck, and if you have specific questions don't hesitate to PM me. Jake

[quote name='Buzz' post='201842' date='May 18 2008, 11:30 PM']Aww crap, that means we're fast approaching the terrible two's, what woe will befall the members of the good ship BC during that time, one has to wonder.[/quote] learn to walk maybe? HB BC woo! its the canine cahonas this place is.

Well, just like other compounds, basses have properties, which are generally defined by internal factors ie materials, electronics etc etc. It follows, by definition, that there is variance in what different properties in their compound form (a bass) exhibit. Otherwise every bass would sound the same. The degrees to which the variance in said properties is measurable is where this discussion has its genesis. Consider those facts naysayers and now tell me that an ebony fingerboard on a double bass exhibits the same properties (sound) as a sh*tty little piece of pine painted black. If you can prove your case within a given time frame of (lets be generous) a million years. Assuming that we have both been cryogenically preserved and brought back from the dead when all mankinds ailments have been resolved, and I will dance naked in the court of whichever pope has been ressurected by similar means.

[quote name='Tinman' post='202705' date='May 20 2008, 10:58 AM']Well, we all know about mine [/quote] Laundry, public etc

My Wife was the band leader on the gigs I met her at. She was married to a piano player at the time but she soon realised that bass players tend to have more in the nether regions and decided to switch supporting instrument (missus) She still gigs sometimes but knows the score with me, I have after all payed the mortgage with gig money so she knows the value.

[quote name='bilbo230763' post='201461' date='May 18 2008, 12:07 PM']And another under represented gem of a player - Marc Johnson. His sound was one of the first double bass sounds I could recognise immediately. Still love his Bass Desires stuff ....[/quote] I saw him with Eliane Elias in Manchester some years ago, he was astounding. I had a chat too, very nice, encouraging and helpful about bass stuff.

[quote name='ahpook' post='201890' date='May 19 2008, 01:19 AM']eventually amps will end up like mobile phones...you'll end up losing then down the side of the sofa !![/quote] I look forward to the day when I can dematerialise me and my mouse sized amp to a gig and sit back and watch the computer read out of the score projected onto the back of my retina firewired into my brain via USB 68 and play my still made of wood bass, to an audience that is not necessarily there.

[quote name='BassBunny' post='201652' date='May 18 2008, 06:42 PM']As our guitarist appears to have "blown a fuse", we need a dep guitarist for a Soul Event in Widnes on 7th June. The band is Manchester based and all the material is Stax - Atlantic stuff, (think Otis, Sam & Dave, Wilson Pickett etc), ie we need a Steve Cropper. Anyone got any ideas or would lend us their guitarist for the night just let me know. Cheers, Stuart[/quote] Steve (Billy) Buckley is in your neck of the woods, he's a great player and will know lots of the stuff and/or be able to learn it in 1 rehearsal. I presume there is money available? If you don't find anyone else PM, I can get his number for you. (and probably a few others too) Jake