jakenewmanbass

[quote name='wotnwhy' post='189239' date='Apr 30 2008, 09:06 PM']fret with index and pinky, use your ring finger on top of the pinky to help stop it getting tired (double bass style). if this is still knackering your hand it might be worth doing some fretting excercises to build strengh[/quote] just for clarity, ring finger on top of little finger [i]does not[/i] represent double bass fingering, ring and little finger together on the string does. I would support the latter, and don't think placing fingers on top of one another is a very healthy habit. I do try to say each to his own but I have been teaching for 15 years so I do have a bit of experience to speak from.

[quote name='Adrenochrome' post='188772' date='Apr 30 2008, 12:58 PM']Yep, very interesting, I spent the first 2 minutes looking for the bass player! Then I spotted what looked like 3 different bass strings with a different pup underneath.[/quote] thats exactly what I did.

I saw it and wondered the same thing, interesting. Hope someone can identify it.

I bought an Alembic new from the states, no bass I have ever played represents what I want to play and sound like better, and I've played some nice basses, I own a v nice 70s Fender I've had two wals and a warwick thumb from the 80s. The main thing I've noticed with the Alembic is that in large venues (1000+) the clarity and individuality of the bass is not lost, massive focus to the sound and a real weight in the bass. And the electronics (mine are signature) give you a huge range of sounds.

[quote name='Musky' post='187662' date='Apr 28 2008, 10:34 PM'][url="http://basschat.co.uk/index.php?showtopic=337"]http://basschat.co.uk/index.php?showtopic=337[/url][/quote] Now[i] I [/i]didn't know that was there, so thanks to the OP for asking and Musky for pointing it out. Asking was a good move

Don't cringe, I've been playing 30 odd years and I can't give you a full technical answer. I think it pretty much does the job of pushing a sound to the front of a mix by evening out the performance, compensating for variations in loud and quiet depending on the setting you have. It can certainly give an added punch to bass notes, make it feel more compact, and in the mix can be used to add gain or keep a lid on notes that pop out. Hope that makes sense, I'm sure you'll get some very good answers from the guys here. Jake PS over use can lead to a pulsing sound in the mix

An ex student told me I might find a buyer for my bass, which I eventually sold on the warwick forum but I'm still here many hundreds of posts and a few new students (thanks to Basschat) later. Jake

All the advice above is sound. as for general tips I would suggest 3 1 Assuming you are using a french bow you need to gently hold the bow between thumb and second finger at the front of the frog this way you can achieve a useful pressure increase and decrease pivot between the front (forefinger) and back (little finger) of your hand which comes into play in point 3 below 2 When starting notes build a little tension (by pressure) into the string to start a note (like a tiny version of pulling a bow and arrow) and learn the point at which the grip of the hair is lost and the note starts. That way you get a clean front to the note, rather than the awful scratching sound that can happen. 3 Learn to apply an even pressure along the length of the bow stroke by increasing the pressure with your forefinger, this can be achieved by a gentle pivot of your hand from right to left increasing the pressure on the bow with a leverage action between thumb and forefinger. Producing long, and very certain notes is really good practice for tone.

I've done several gigs at ice rinks.... simply wrong in every way.

I'm assuming that you are applying pressure to the neck by squeezing slightly, consider the following... Try to think of your arm as a weight, with hooks at the end (your curled fingers) Hook your left hand fingers (together or singly) onto an edge above waist height (ideally shoulder height) eg mantlepiece, bookcase... Relax your arm to the point where the weight in your arm can be felt. Now relax it some more, Now relax it some more, Now relax it some more, Now relax it some more, Thats nearly enough! Learn what the weight feels like, become [i]familiar[/i] with its feel. Once you are comfortable and confident that you have a proper awareness of the weight in your arm, then try to take that concept and apply it to pulling gently (with the weight only) against the fretboard, with your hooks (fingers) If you get it right you should find that with the adjustment to approach physical and mental, that you can fret notes with your thumb having little or no contact with the back of the neck. The benefits of this are twofold: There is no 'gripping', which [i]can[/i] serve (not always) as a slowing factor in muscle movement as it involves tension and release (muscles tire under this action) Due to the above, there is increased independence and freedom in the movement of the fingers as they are using a natural attribute (the weight) rather than a muscle action (gripping) to perform their tasks. I have been as comprehensive and clear as I can muster with this, but to be honest it's a process that you need to be coached through (I was by an URB tutor) Feel free to ask about specifics if you are in any doubt about what I mean. Jake PS It's taken from a violin technique concept, where if you think about how their left hand is on the fingerboard, they can literally 'hang' their hand off the board. Even though the fretboard of a BG is rotated through 90 degrees you can simulate the hanging, but directionally back through the neck as it were. PSS This should/could solve any muscle strain/pressure strain ailments too.

[quote name='wateroftyne' post='182968' date='Apr 22 2008, 04:53 PM']Meh... I'm not buying it. For URB, maybe. Electric bass? Naaaah. Not unless you're doing something colossally stoopid.[/quote] I don't really think performing the same action thousands of times, that gradually over-stretches a tendon over a joint, inflaming it into immovable agony can really be described as colossally stupid, and because you never heard of it happening, doesn't mean it doesn't happen, if you know what I mean. I [i]have[/i] heard of those things happening, having come across literally hundreds of students in the years of university and college teaching. It's a real danger to people that play a lot, and if it's your living, it's a serious threat. No disrespect to your view or experience but "not buying it" as you put it, could be a bit misleading to young players.

[quote name='greyparrot' post='182738' date='Apr 22 2008, 01:19 PM']If they would have cancelled within 14 days then the full amount would be liable, but i really felt for this guy as he really wanted us but has been bullied by the in law to be! Anyway, it shows that all major events weddings etc should always be contracted to safegaurd both parties, and this is the first time in 8 years that we have had a cancellation of a wedding, and im glad i had that in place.[/quote] +1 We had a wedding cancelled as the bride was crushed in a horse fall, they were willing to pay and we were entitled under the terms of the contract. We refused payment as it was clearly beyond their control and things were bad enough for them without bills for things they weren't going to get. We have also had the opposite where people thought they could just ring us up and say "we've changed our minds" we were successful in saying "uh, actually you can't"

[quote name='bremen' post='182737' date='Apr 22 2008, 01:19 PM']Christ, never mind his day being spoiled by a crap disco instead of a good band, I worry more for his future life with a ma-in-law like that![/quote] Indeed!!

[quote name='greyparrot' post='182709' date='Apr 22 2008, 12:32 PM']But a meddling mum in law has decided that the bridgroom is not a capable person, and took the matter of entertainment in her hands, (he was in charge of booking entertainment, and in his own words, 'the bride and her mum dont think i (he) is capable of arraging that')[/quote] Thats an interesting variation, I wouldn't be surprised in that case if a CCJ (county court judge) would actually award you the full fee on the basis that the wedding [i]is[/i] going ahead and it's mere whim that has led to the cancellation. (can't be sure though) Whatever the result I think its an interesting example of how these things should be carried out. Cheers Jake

[quote name='greyparrot' post='182664' date='Apr 22 2008, 11:40 AM']In the last few days we have had a wedding cancel on us just 3 weeks to go, and in the terms of our contract they have to pay us £300 (half balance due) to realese from the contract. That is winging its way over. I guess for a duo its ok, but would have prefered to do the gig, but no dought we will replace it with a small gig.[/quote] A small matter of protocol parrot, if you do manage to cover the date you are obliged under the same general principals of contract to repay the amount of the replacement gig back to the other side (if it's less) and the full amount (if its the same or more), and in fact you are obliged to actively seek a replacement gig. It's your call, but everybody should be aware of those general principals which would be upheld by any small claims court judgement. (I was vice chair of the Manchester branch of the Musicians Union and a committee member for many years so have dealt with many cases as such)

Not quite on topic but a good gig story nonetheless. A friend of a friend (therefore poss urban myth) was doing a very posh wedding at which when it came to time for the grooms speech, he duly thanked everybody most especially the very generous brides Father for having spent a small fortune on the celebration, he then announced that despite having had a really great day he was going to annul the marriage as it had not been consumated, on the grounds that he, (points to best man) has been shagging her (points to bride) for the last year and a half. He collected himself and walked from a pin drop silent marquee. I don't know if the band were paid off, but I'd be surprised if they weren't.

[quote name='foal30' post='182640' date='Apr 22 2008, 11:15 AM']also teaching others is real good for you. It helps solidify concepts or question beliefs/superstitions.[/quote] +100000000 for two reasons, it teaches you to value what you know, and it ensures you know what you're talking about. There is no better way IMO to consolidate learning than to give it sufficient consideration to be ale to pass it on

My brother was a bass player so there was a bass in the house from early on, I started playing along to records at eight, joined a band at ten and did my first paid gig (£2.25) at twelve. kept on with bands (semi pro) till I was 20 then went to music college (learned a lot in two years) and turned pro at the end of the first term (social clubs in t'North, parties, functions and two summer seasons). Have been learning ever since. I don't know what to vote in the poll because I was self taught to begin with but later had lessons.

The female population of bass players seems to be growing, a good thing in my view. Welcome You should find a tutor near enough to you in the tutors thread at the bottom. Sounds like there are a few pro guys over in Essex if you can stomach the bridge/tunnel. Anyway, good luck finding one Jake

[quote name='cytania' post='181252' date='Apr 20 2008, 07:29 PM']Many thanks Jake, yours is a great post. Thank-you for the advice on catching the bass drum envelope, I've never thought about it like that, you've opened my eyes. Will do more drill to simple closed loops, practising 1 and 3, I'll assume that if a backbeat groove came up I'd lapse back into it. Meanwhile I've habits to fight...[/quote] You're welcome. re the envelope, quite a few people have said the same as you about having not thought of it that way, so you're not alone. Do remember that the envelope closes really quickly so accuracy is required to avoid a flam, but aiming for the back is a mental state as much as anything, and its the place from which as a bass player you have most control. I have said it before, it's much harder to adjust from in front than from behind.

Learn to play fat and solid on a really straightforward backbeat groove. (Assuming you have some sort of drum progamming thing, or get a friendly drummer to help) Bass drum on 1 and 3 Snare on 2 and 4 Aim to marry an open E sting with the bass drum beats. The idea is to hit the closing of the drum envelope so your note develops after its gone Then play open E for a bar open A up to B, 2 beats each. (thats beats [i]not[/i] bass drums) When you feel that that is strong add an [i]and[/i] after beat two on the bass drum, making bass drum pattern 1 & 3 snare still on 2 and 4. Continue varying the bass drum pattern eg with semi quavers prior to each 1, 3 and keep hitting them with your bass notes. once you have the grasp of producing a solid feel with various patterns, experiment with playing on and off the bass drum, between 2 bass drum beats between bass and snare etc etc These are the fundamentals of building bass and drum grooves and if you can keep good time and produce a good feel whilst doing them, you are well on the way to shedding your guitarist tendencies. [b][u]NB[/u][/b] ensure that you stop the notes on the snare drum, but do it without [i]hitting [/i] the strings.

I [i]can[/i] tune from memory, but I will always check either with a piano or if with guitarists (tuning can vary more on a guitar) with a tuner. Most pertinently it's all very well that seeming twatty individual being confident in his own tuning, what if others are out, doesn't help the gig does it. I very much agree with Bremen, people who sneer at someone offering help are arses, in particular if it is a guitarist that gives you that look, my advice is to take hold of his left pinky and bend it backwards (on the axis of the second knuckle) until a loud crack (or popping) sound is heard. Then smile and say, "never mind, you didn't [i]need [/i] that either"

OP and Bilbo, both had me laughing loud enough for my neighbours to hear. I'm a jazz bassist (some of the time) and my wife is a jazz singer. particularly this: Yogi: Anyone who understands jazz bass knows that you can't understand it. It's too complicated. That's whats so simple about it.

Simply brilliant!

I love the "reluctant sale" its always in there, next time I bid I'm going to put 'Reluctant Purchase' so can I have it for 1/2 price ?