jakenewmanbass

Don't look so scared, it's ok, come in, we don't bite. Right are you feeling comfy....? I'll begin. I played an NS once (had to borrow in emergency) did a whole gig on it. Given that I'm usually an acoustic player (on double that is) I have to say the ease of play and the sound it produced were excellent. Also I have a student from BC who has a Stagg which in action and string tension is closer to a double bass and again the sound is good. When it comes to lessons you don't need many, its just a good idea to learn how to properly use your left hand most efficiently for two reasons : 1. done right its less effort and less injury prone 2. its much easier to maintain good intonation. on the second point, bad intonation is bad enough on acoustic, amplified its truly awful. If you troll the EUB/double forum you will find various bits of advice (some of it really good) from different people, me included, and I'm more than happy to answer specific questions if you come across any difficulties (should you decide to go ahead) Best of luck whichever way you turn. Jake

My brother sprang his daughters 18th dinner on me on thurs, family/basses/family/basses. well I know what I want to do. but I can't

[quote name='neilb' post='161644' date='Mar 21 2008, 11:57 PM']Does this look like a Trabant? No, thought not! [/quote] you need more imagination, just think of it with some wheels and a tinfoil radiator and before you know it you're in Dresden 1965... Am I the only one who can see this...?

[quote name='bass_ferret' post='165895' date='Mar 29 2008, 03:12 PM']Plus of course lots more people have listened to Jamerson even if they did not know it.[/quote] That is certainly true and has a certain deliciousness about it. He moved more feet than anybody...

[quote name='Scoop' post='165905' date='Mar 29 2008, 03:36 PM']I'd be glad to pass on your best. Carlo's had a bad week this week (I'll PM you on that) and I imagine that might cheer him up a bit. So who else do you know from the Muffs? Roddie, obviously... but Rhino? Jumpy? Bammo? Steve Belger? Andy Frizzel? Martin "Tina"? My God, there's been so many of them... Tilo Pirnbaum? Did you get to play with either Ike Willis or Jimmy carl Black? I've gotten to know JCB reasonably well through Carlo and Frizz and he's just a brilliant bloke.[/quote] I know all in that list except Tilo, and yes I did play (toured for months) with Ike and recorded an album with him and from that got a gig with the Belgian TV and Radio Orchestra performing original pieces as a tribute to Zappa. That was with Robert 'Bobby' Martin, the other great singer in Zappas band of that era. Good times... Thanks for the PM re Carl. I hope he's ok It will take a while... Jake

Thats twice now that Leo Fender has been credited with the conception of the idea of four strings for the bass guitar, I think it a little beyond probable that he got the idea for the number of strings from the string family of instruments, which have been around for hundreds of years (I've got one thats older than Leo) and their developement in (frequency range) groups was such that they avoided treading on the toes of the frequency range in the next section. Broadly known as SATB Soprano, Alto, Tenor, Bass. There are interim ranges such as, counter tenor, and baritone. but the whole point of dividing them into groups was to ensure the fulfilment of each range in full voice of an orchestra. I feel that the six string bass strays into the register of a guitar and the tonal qualities to my ears of a bass in that register are summed up as a poor replica of a guitar. I have already pointed out the I think there are exceptions to this (Anthony Jackson)

[quote name='Scoop' post='165821' date='Mar 29 2008, 12:35 PM']Nope. I play with Carlo Bowry the guitarist from the Muffs (now ex-guitarist I suppose) on a quite regular basis. Well over 200 gigs with him in the last decade, I guess. There was another ex-Muffins chap involved last night but it wasn't the Muffins [i]per se[/i]. The band are called Trout Mask Replicants.[/quote] I know Carl from old and toured Europe with the Muffs in the early nineties. Say hello to Carl for me. Jake Newman

[quote name='bass_ferret' post='165850' date='Mar 29 2008, 01:52 PM']Could not give a toss TBH, but if we were talking about the Funk Machine....................... Dont know where these people get off with the bass of doom being the most famous, amongst bass players maybe.[/quote] You're probably right in that last sentence, but I'm pretty sure the same would apply to Jamerson, due to the practices of the time he was probably less credited on albums/singles than Jaco. (a crime IMO)

[quote name='guyl' post='165782' date='Mar 29 2008, 11:07 AM']The main problem with playing a 6-er, is that from the moment you pull it out of the case people assume you're a noodler that wants to play a million notes a minute. People like Jake probably think you bought a 5-string bass with an extra string to solo on. Or maybe you went to the music shop to buy a Fender Strat, but got confused and ended up with a 35" scale bass? The only difficulty with 6 is dealing with "stereo-typers"[/quote] I think you've quoted me a little out of context there Guy, If you read the whole of my post I am clearly expressing a taste and am not, as you seem to suggest, blinkered enough in my thinking to assume that high Cs are for soloing only. I also state that I have no problem with 'others taste for it' Its just not for me' So don't assume I'm like anything, or 'probably think' like anything especially when using an out of context quote for the evidence to support imagining what I am 'like'. I have encountered prejudice in studios all over the country (and wider) regarding my use of a low B, when producers think that basses should be four strings only. And I repeat and elaborate, to me the tonal qualities of a high C enter the same frequency range as that of a guitar and [b]IMO[/b] don't sound very good. Now my saying that neither undermines nor denigrates your enjoyment of the same, so you can be a little less defensive. And you can think again before you line me up along with the 'stereo typers' I am not one, and neither could that conclusion be drawn from my reasonably stated taste and opinion. Jake PS. For the record I can noodle just like the next bloke, check tracks 4 & 5 of my MySpace. 16th note bass countermelody at 116BPM played on a 5 string bass. (Ironically recorded at Cavalier Studios in Stockport)

[quote name='Scoop' post='165693' date='Mar 29 2008, 02:01 AM']Went to my local tonight to see pals of mine in a zappa - beefheart type band. Great band and I've kind of envied the bassist in this lot for a while coz it's a great gig. He's a mate and I know him well but I'd still kill him, happily, for this gig. Anyway, the poor sod has a barium meal test tomorow and took laxatives before the gig to clear his system out - not expecting the effect to be almost immediate. He got a third of the way through the first set and unplugged, lobbed his bass at me (a frankenfender precision), and sprinted bogwards clutching his buttocks. After I'd finished laughing I got up and made a complete arse of myself attempting to improvise material I thought I knew but obviously didn't. Still enjoyed the bits I got right, mind you. I dep quite a bit and I like to think that I have reputation as someone who will give their all at a moments notice - but this is the first time I've ever answered the "is there a bassist in the house?" type of call. It was a bit stressful to be honest and I didn't exactly rise to the challenge as I hoped I might - but when all is said and done I still had a blast. So unexpected, so challenging, so sphincter quivering - and such good fun.[/quote] It wasn't the Muffin Men by any chance was it?

It is a matter of taste I guess, but the high notes on high C strings sound to me like a sh*t guitar. Even in the hands of very capable guys. I don't have a problem with others taste for it, but not for me. The only bass player IMO who really puts the register and sound to great use is Anthony Jackson, and do you know what I've never heard him do a solo. Jake

[quote name='Toasted' post='165100' date='Mar 28 2008, 10:36 AM']^ what he said If you tell us what service the item was posted by I can tell you what you can expect. I've used pretty much them all.[/quote] sorry quick hi-jack Toasted, have you sent as well as collected? If so who would you recommend for posting a bass to Romania? thanks in advance. Jake PS would have PM'd but thought the answer might be useful to others

I got a bass from the US and paid the duty on the doorstep. It was delivered (very safely and on time I must add) By UPS. When calculating the duty, realise that as well as the import duty there is VAT on the full amount including shipping cost. Jake

I had a student years ago who had a maple neck Mexican Jazz, it was lovely to play and sounded every bit as good as my '78 Jazz same spec. Never heard it recorded though, and my '78 sounds f***ing awesome through the Alembic pre amp

[quote name='JD1' post='165016' date='Mar 28 2008, 05:44 AM']Thanks for the advice folks. I guess my stamina will develop alongside my technique and intonation - all of which will need a shed load of work before I would feel confident enough to gig with it. Going to stick at it though.[/quote] Your stamina will definitely improve as you say. One quick tip on intonation, you stand a much better chance at staying in tune if you keep contact with the string when you move your hand. To get a feel for this, exaggerate the action and produce a big slide between the notes. As you get familiar with the positions of the notes eliminate the sliding sound between them, but maintain the contact with the strings. [u]NB[/u] This exercise should be done in isolation, when thinking about intonation, don't apply it to all your practice as you could end up sliding everywhere and that wouldn't do.

I think in most cases it would be fine, but there are considerations regarding injury, I'm always cautious about giving my students too much to do because in my nearly 20 yrs of gigging on upright I have come across musicians who have had to take long periods off playing through muscle strain or tendonitis, usually through overplaying or some other injury made worse by playing . Often an injury that seems quite innocuous can be long lasting and sometimes even depressing. At the same time I don't wish to make people worry as it should be an enjoyable experience. I think its probably the case that most people will have a good sense of what they can do, but they should keep in mind that the demands of a gig are always more than you can imagine in your practice scenario and should be considered as such. In my first years playing upright gigs did tire me, and I got blisters. That has all gone now though and I love gigging or recording on upright. I suppose the main thrust of my message is to try to avoid being one of the minority of unfortunates that ends up having difficulty playing by overdoing it. Hope thats cogent, have had a little drinky :blush: Jake Edit: Its been said before but I'll say it again. Some lessons on basic left hand technique go a long way to making you way better, way quicker, and they could also prevent problems.

It is. Double and bass guitar are different instruments, with completely different physical demands and technique so go easy on your new muscle use to begin with. Most of all though enjoy it, when it starts to sing for you its a beautiful thing. Jake

[quote name='Old Horse Murphy' post='164480' date='Mar 27 2008, 02:06 PM']My Grandfather was the first person to ever do this. He started this trend long before electric instruments were invented. We had a certificate at home from the King confirming that he was the first person to do this and bestowing on him the official title of Leader of the Strap. Unfortunately he's dead now and so is everyone who can vouch for this fact.[/quote] I dispute it, I have a photo from 1214 in which my recently deceased uncle Nigel can clearly be seen wearing a vintage basse (made of wood and dodos beak) connected to his rig via a horse hair cable which is broadly accepted as the likely fore-runner to the quadraxial cable which was phased out (or was that out of phase) in the late 1500s, synonymous with pope Gregor great great great great great great grandfather of rap who took the afore mentioned technique and applied it to the 'rock hold' a similar technique where the leade vocalisterist (as formely known) loops one coil of mic lead around the mic holding hand. you need to brush up on your history (anag. shitory) mate

Not last night but yesterday and Sunday. It was the first of the outdoor gigs, we do about 40 days over the summer!!**?!! at various outdoor events. It was a game fair in Northamptonshire. It was positively Arctic. I wore my jeans and T shirt under my suit (Tails) and still froze to near death. we had a fan heater, an oil radiator and all our lights on (tripped the power twice) but the tundra rolled in through the open sides of the marquee, so the strings on my double bass were like frozen cheese wires savage pain with both hands. I've done many outdoor events, lots of festivals but that was the coldest ever. Oh well at least we've got the summer floods to look forward to!! Jake

[quote name='groove machine' post='161977' date='Mar 22 2008, 09:21 PM']cheers jake![/quote] No problem.

PM'd

Nerves can be overcome with a bit of thought and practice. Imagine your state of nerves as a horseshoe shape, and number, like a clock from left to right, one to ten. One is not bothered, ten is scared shitless, learn your calm state, and keep in your mind that relaxed but with some stimulus is your optimum operational mode. learn your panicked state and realise that you can barely function (butterflies, sick feeling, sweaty hands, shaking etc) Now consider the points on the horseshoe and aim to mentally control your state at between four and six. If you go over, deep breathe, think nice thoughts, anything that will calm you down. If you are blase, think about something that gets you fired up, jump up and down, scream, anything that winds you up a bit. If you consider this seriously it should lead to you having a handle on your performance state and should lead to you learning to operate at optimum operational mode most of the time. Jake PS This is a tried and tested performance technique and is used by sports psychologists/athletes, actors, musicians etc

[quote name='Astronomer' post='160112' date='Mar 19 2008, 09:51 AM']Is there a "proper" way to mute the strings that aren't being played? I play fretted 4 and 5-strings, and there's always just that little bit of background ringing. It's only slightly - but noticably - worse on the 5. Thanks for any advice! [/quote] Its good that you are considering it now, it can be a bit shocking to hear unwanted noises in the studio on a project, as you have to rectify there and then. You can mute/damp with both left and right hands, as suggested by the others using the right thumb and holding your left hand fingers flat against the strings that aren't being played. In very quiet passages its a good idea to rest your right third finger on the string higher than you are plucking too. All in all its a good idea to have a few damping techniques as what you play will affect what you can do in terms of muting or damping. Jake

[quote name='BigBeefChief' post='159951' date='Mar 18 2008, 09:39 PM']Yeah, my original profile was deleted following some "unpleasantness".[/quote] you unpleasant, I find that hard to believe, you're a model citizen.