Bilbo

http://basschat.co.uk/topic/93958-i-did-it-now-with-photos/page__hl__gedo+musik__fromsearch__1

They are fine as starter instruments and, yes, an upgrade on bridge and strings would be a good idea. Alternatives include Gedo Musik's basses which are similarly priced (I started on one priced at around £1400 but they are perfectly credible at lower prices). If you want to hear my cheap, nasty bass (irony, it's lovely), check out 'Calypso Zoom', 'Speak Now', 'Estate', 'Wee' or 'Caravan' on my Soundccloud page. There is a lot of what I call hysteria about cheap basses but, in my opinion, getting one looked at by a luthier and getting to the act of playing the damn thing will be more use to you than agonising over whether to spend £700 this year or wait another six months until you have £1500. The difference between the two will be irrelevant for a few years until you really get a handle on the instrument. My 'cheap' bass sounds four times better now than it did when I got it. Not because it has been modified but because I have been playing it for four years now and am much better than I was when I bought it! I cannot see how a marginally 'better' (i.e. different) bass would improve my 'thing' as convincingly. My advice in one sentence: Just start your journey and enjoy it.

Some people put a wrist size sweat band around the neck to dampen the strings (have seen Kevin Glasgow do this with his six string bass and Reggie Wooten on guitar) but I think most peopel just find a way to dampen the strings with either hand. It is an irritant, though, I agree. PS. I never slap on a gig, only for my own amusement and never for more than a few minutes a decade

This is good for reading rhythms. It's called, oddly enough, Encyclopedia of Reading Rhythms http://www.amazon.co.uk/Musicians-Institute-Encyclopedia-Workbook-Instruments/dp/0793573793/ref=sr_1_1?s=books&ie=UTF8&qid=1392753679&sr=1-1&keywords=reading+rhythms Also try the Complete Bach Cello Suites as you won't remember them enough to be playing them by ear. http://www.amazon.co.uk/Faber-Music-Bach-Cello-Suites/dp/B003HKDZ02/ref=sr_1_4?s=books&ie=UTF8&qid=1392753788&sr=1-4&keywords=bach+cello+suites It takes a few years to nail it, guys. Progress is incremental and slow. Be patient and stick with it. I know a 'ten-finger' reading pianist who told me it took him 15 years to nail it. If we take 2 or 3, we are doing well.

Will have a 'fiddle' and see what transpires!! Thanks for the steer, bro!!

I thought the SM58s did need phantom power? Just googled it and you oare right (whcih you clearly knew already ) Looks like its the Focusrite[size=4]'s phantom power may be the issue!![/size]

Simple query - my Rode NT1-A condensor microphone has developed a fault (it is massively too quiet - barely audible with all levels on full). Can these things be repaired and, if so, where? I tried it through my Focusrite pre-amp/compressor and could barely hear it so I unplugged it and replaced it with a Shure SM58 without changing any of the settings and the SM58 was fine (although not as good as the fully functioning Rode) so I am 99% sure it is the Rode.

Tidy. I do a regular duo gig of this nature (guitar bass, lead vocs backing vocs). It don't sound like that Actually, the strength of this performance is in the lead vocalist. He's a monster. Also worth youtubing 'Perpetuum Jazzilw Africa'. The opposite end of the spectrum. I love theior faux- jungle sounds.

What is your reading practising regime?

Had a quartet gig with Jazz trumpeter Steve Waterman and Essex guitarist Andy Watson last night. Monsterously good gig with great charts and great playing from everyone. I recorded the gig and it sounds fantastic (a few simple arrangmements can really MAKE a gig). Really exciting stuff. We also got to try out one of the tall skinny Bose PA systems which was nice. Next gig: Alan Barnes!!

To add to Jake's post, I would just reference the fact that, in a Jazz setting, most improvisation is a dialogue between the various parties and that you will find the source of your inspiration in the playing of those around you. A piano lick, a drum fill and bass line etc. Or even in the theme of the songs themselves (Sonny Rollins is THE expert in this). The best Bass orientated book on impriovising I have ever used is the Chuck Sher/Marc Johnson book 'Concepts For Bass Soloing'. http://www.amazon.co.uk/Concepts-Bass-Soloing-Chuck-Sher/dp/1883217008/ref=sr_1_1?s=books&ie=UTF8&qid=1392628661&sr=1-1&keywords=marc+johnson+bass A small point, the two guys you have mentioned, whilst in no way lightweight, are not particularly advanced improvisers. You would be far better getting inspiration from a range of saxophone, trumpet, piano and guitar players (i.e. don't focus on one individual player). Seek out great improvisations, things that make your ears go 'aaaah' and make you think 'what was THAT'? Try Chris Potter, Mark Turner, Branford Marsalis, Joe Lovano, Keith Jarrett, Kenny Werner, Wayne Shorter etc. There are also great source books like Slonimsky's Thesaurus of Scales and Melodic Patterns. It is also important to note that you are starting a journey that never ends but it is the journey that matters not the destination. Look forward to a life of gigs where two solos a year (maximum) do it for you But it's the BEST feeling And, yes, Steve Berry rocks!!

Ozomatli, Ray Barretto, Airto Moriera, Flora Purim, Return To Forever (first two albums), Fort Apache Big Band, Dave Valentin, Tito Puente, Sergio Mendes, Toninhio (?) Horta, Cal Tjader, Poncho Sanchez, Hermeto Pascoal, Herbie Mann, Mongo Santamaria, Gato Barbieri, Machito, Ruben Blades.....

Of course, there is always this fella http://www.czech-ease.com/

Police should be able to contact ebay and get the details of the seller and follow it up. The amp was stolen property. If it was yours and can be proven to be yours, you shoudl get it back and the buyer needs to take it up with the seller and ebay though their systems. It' syours, mate. Go get it back.

http://www.youtube.com/watch?v=EumCetUBxHI&list=PL2C1A600BAAEE327F

You don't want to know!!

I think the ones I have heard mostly sound like fretless basses rather than double basses but the technology is moving very quickly and there may be EUBs which I have not heard but which do sound convincing.

58 (mistype). Which freaks me out a little as I had John SCofield Lps with him on from 1980. I hadn't realised until now that he was only 25 when he recorded those!!!

I have a Finale Carbo Fiber (sic) bow I got from String Emporium (mine is French but they do a German one). It worls fine and is, I am led to believe, as good as much more expensive wooden bows. To be fair, though, I also know a master bow maker and he won't talk to me any more!

Rob is right. Low G (first line) is the third fret on the E string whilst the high G (top 'gap' between the top two lines)is the open G string, 5th fret of D string, 10th fret of the A string or 14th fret of the E string, all of which are the same note. Notation not only tells you which note to play as in G, it tell you which G to play. Otherwise, you would be all over the place.

My 28 year old Wal Custom Fretless 4 string. Does everything.

I was just listening to The Impossible Gentlemen's latest CD and it occured to me that the relative ages of the individual members is incredibly wide. Steve Swallow is 74, Adam Nussbaum is 38, Mike Walker 50 and Gwilym Simcock 33. That is a a 41 year difference between the oldest and the youngest members. And the music is still incredibly cutting edge. I love the fact that this music is still accessible to people at an age when other genres would seek to dismiss them as yesterday's men.

Been a fan of Flim since I was a teenager (now 50). I bought an LP called Grasshopper by the Wayne Johnson Trio. This recently appeared on youtube from 1982. Follow the link and htere is loads more early JJ. An amusing aside, the drummer, Bill Berg, is not a pro musician. He is a Disney animator and drew Beauty from Beauty and The Beast and, I think, some of the lead characters in The Lion King. http://www.youtube.com/watch?v=7k5EQWfqVOQ

I will get to it this week, mate (I have a gig with Steve Waterman next Sunday and want to 'sound my best' ). Osian now lives about 15 miles outside Prague in a converted Granary with his wife, kids, 3 chickens and his late mother in law's old dog! I will mention those names to him when I next speak to him (which will be soon as I recorded the gig and he wants a copy - it was a monster!!).

Sometime it matters, sometimes it doesn't. Sometimes it matters a lot. If it is a massive note in the middle of a quiet passage, it may matter a lot. If it is a passing note in a string of sixteenths, it probably won't matter as much as the overall phrasing. If you are still learning, as it would appear you are, I wouldn't worry too much about it. The issue will become more relevant as you progress.