6stringbassist

[quote name='greyparrot' post='401333' date='Feb 5 2009, 06:06 PM']HA ha like he will agree! get real mate. WHat i said happened. Of course many others have had good from him, but as i said, i had a pig.[/quote] I honestly think that you need to go to an established luthier when you're having an instrument built, someone with a fine reputation, you may pay a bit more, but you get the instrument that you want and generally get good after service. My top ones are as follows - Martin Petersen (Sei bass). John Diggins - I've known John for about 20 years, and he really is great and very helpful. Rob Green, I bought a Status a few years ago, when it arrived I noticed slight swirl marks where it hadn't been polished properly, nothing major, but they arranged to have it collected from me, they re-polished it and I had it back with me within 48 hours. Chris May from Overwater, I've played a few Overwaters over the years and they've all been really great basses.

[quote name='thisnameistaken' post='400244' date='Feb 4 2009, 05:59 PM']A related question: Do those of you with really expensive basses actually gig them? I don't think I'd want to take a bass worth £1000+ out to a pub gig.[/quote] I've had custom basses for years, my first really good bass was a Jaydee, I got that when I was about 19 I guess.That was followed by another Jaydee, then a Wal 5 string, and now I use Sei basses. I've always gigged them, that's what they're for, but I'm really careful with them. When I was playing the Jaydees the band I was in used to use a guy called Carl Brennan as security, he was massive, he played American football, I used to buy his beer all night just as long as he watched my basses for me and kept people away from them. The places I play nowadays are far more elegant, I still sometimes get people asking if they can have a go, I politely say no, and my brother is generally around, he comes to most gigs to carry stuff, which is handy 'cos he looks nothing like me, I'm 6ft and weigh about 10 stone, he's 5ft 6", weighs about 15 stone and is a black belt 3rd dan at karate. I chose Martin Petersen to build my basses quite simply because he is the best in the UK/Europe.

I fitted one to my Sei 6 last year, it originally had a normal John East pre fitted to it, the change made an already fantastic bass something that really can't be bettered, and I mean that, I've tried many basses since, and my Sei is by far the best. I'm having a new Sei built at the moment, a fretless 6, that's going to have an East/ACG pre fitted to it too, possibly with Q-tuners.

If the note played is a D then it should be notated as such, I think.

There's tons of great music out there written by people with classical musical training, BUT one persons idea of great music is different to someone elses.

[quote name='BigBeefChief' post='390866' date='Jan 25 2009, 12:08 PM']This wouldn't be the case if those who spent their time studying theory actually churned out some decent music! All I hear from you lot is God-awful jazz, cheesy muzak style funk, or the sex-offender of the music world - fusion. Maybe its coincidence that the majority of artists that I like aren't theory geeks. But maybe its not. Learning in itself isn't the villain here. It's the fact that those of you who have the dicipline to learn theory don't have the dicipline to just play the root when required. Typical jazzers. Always showing off.[/quote] Sure I can and do solo when playing with a jazz outfit, but in two of the bands I play for I actually don't play much other than the root note 'cos it doesn't fit. See I play what's needed, not what I want to play, I'm a musician, I can read music, I understand a lot of theory, and I can improvise. But I only play what's needed, which is probably why I'm playing in seven different projects at the moment, and why I've had two phone calls today from bands. But lets switch things around for a moment, I can and do only play what's needed, and I can play over the top if necessary, can you do both ?. The whole fact of the matter is this, there are certain types of music that exist, where a good knowledge of musical theory is important, and there are situations that exist where you are required to be able to sight read music, this is a fact whether you like it or not. Not being able to read, and having insuficient musical knowledge mean that doors are closed to you in the musical world. And we don't all necessarily like the same music as you. So if we don't like what you like, and we want to be able to play jazz, or do theatre gigs then we need to be able to read and improve our harmony knowledge. Sorry if this is a bit of a rant, but this sort of thread is so stupid, and so are a lot of the comments on here, it probably doesn't make a lot of sense what I've typed, but I have, dare I say it.....a jazz gig this afternoon and I don't have a lot of time to read through whatr I've put.

Both of my Fenders are CIJ, and I have to say they are really well made, faultless is a word that comes to mind with them. I play with a Japanese guitarist, and he says that the Japanese want US made instruments, as always I suppose you should buy what you like.

[quote name='simon1964' post='390128' date='Jan 24 2009, 12:31 AM']I'm no pro, but it does puzzle me that guitar and bass seem to be the only instruments where a lack of musical knowledge seems to be a badge of honour.[/quote] And the less you know, or admit to knowing then the more credability you have, it's crazy. I do a lot of work in schools for Warwickshire county council, they have very fine and well equiped music departments. The kids are taught to read, and are taught theory through the grading system, so hopefully attitudes might change in the future.

[quote name='BigBeefChief' post='389878' date='Jan 23 2009, 06:16 PM']That's where studying theory gets you kids. Just say NO![/quote] I also play funk, rock. blues, soul, punk, indie, pop and I'm doing some stuff in April for a local theatre group where the parts are written out for me to play.

[quote name='BigBeefChief' post='389835' date='Jan 23 2009, 05:34 PM']Do you play Jazz?[/quote] I play music of all genres, including jazz, yes.

I guess it depends on where you want to be with your playing, and what you want to achieve. I want to be as good as I can, and achieve as much as I can. To that end I practice as much as possible, at least 20 hours per week on my own, and I play with as many people as I possibly can, playing all genres, I play in 7 different bands at the moment. I try to spend at least 3 or 4 hours a week practicing my sight reading, which I think is an important skill to have. I know some people are quite happy to reach a level where they can play with others in a band, and that's cool, but I was doing that at 14, and even then I wanted to progress. I still take lessons, I study solo bass stuff with Steve Lawson, and I owe my jazz skills, such that they are to my long term teacher of almost 20 years Terry Gregory who's the head of bass studies at ACMP. Music, and playing it has fascinated me since I was about 7 or 8, and I want to learn all that I can. Learning theory cannot possibly hold you back, and basically you're deluding yourself if you think otherwise.

It averages about 20 hours on my own and about 10 hours with the different bands that I play for.

[quote name='bilbo230763' post='389003' date='Jan 22 2009, 08:41 PM']In an effort to earn the 2009 'most popular forum member' Oscar.... Most people don't need reading or theory because most music that is played in most venues by most people is actually very basic/simple/repetetive/undemanding (I know; I have played it throughout my career). People can get by because there is nothing to test them. They can use their ears because there is not that much in the way of real harmonic movement that will test these skills to any real exent. The audience reaction rewards this mediocrity; the more sophisticated the music, the more the punters struggle. Not their fault but its a fact. The benefits of reading are obvious; it comes in two types, reading and sight reading. Whilst I can do both, my sight reading is undermined by a lack of real opportunities to do so (it is a muscle that is wasting). But being able to read and write charts allows you to cover all sorts of bases that you might struggle with otherwise. You can communicate ideas reallly easily and interpret those of others with less need for repetitious run throughs and without the logistics problems of endless rehearsals. You can learn more quickly. You can play in more situations without having to 'learn' sets. Its a skill that can open doors if you want it to. Theory is invaluable if you want to move beyond trained monkey status. Doing it is one thing. Knowing what you are doing is another. My theoretical knowledge, despite being better than most, is not what it should be and I am trying hard to address this but, without it, I couldn't play half the gigs I do. I love the sounds of music and want to know what makes things work. Its not just about bass. I want to challange the pianists, saxophone players and guitarists I play with. I want to arrange big bands charts and string quartets; not because they are lucrative but because they are there. Without theory, I would be doing jigsaws without the lid. With theory, I have more potential to create. But that's just me. I am always suspicious of people that advocate ignorance. It jut doesn't compute.[/quote] Well said, I totally agree with everything that you've said there.

[quote name='steve-soar' post='385834' date='Jan 20 2009, 11:25 AM']Hi Kev, all you need is a nicely battered, old German upright and you are sorted. What Epi cabs do you have ATM?[/quote] Hi Steve Thanks, I have 2 1x12's. And yes, it's your old Sting bass, I love it thanks. I tried flats on it and didn't like it too much, I prefer the nickel rounds. Kevin

I guess I've spent too long listening to Steve Lawson, no really I just wanted to sound a bit different, I find them very versatile, great for jazz and excellent for funk playing. What's the news on your W+T bass ?.