Bilbo

To be fair, when I started playing jazz/jazz-funk/fusiuon, I had an AH250 and two cabs that I can't recall the model number of. They were big and had 2 speaker in each (15s or 18s, I am not sure - this was late 1980s). They had some sort of weird porting system where the speakers were at the back and there were two verticle baffles that coned out from the speakers. They were sold as being specially designed for fretless type tone which was what attracted me to them. Anyway, when I started doing jazz, everyone took the piss because they all had their GK and Polytone biscuit tins and I had this stack that was taller than me. But, I'll say this. It really sounded the b***ocks. I have some old recordings of me live where it sounds great (sorry, not for public consumption), one of the best sounds I ever had. THe problem was, in a nutshell, I couldn't pick the cabs up on my own. Not at all (I actually coudn't get my arms round both handles. Fine when every gig was a 'band van' affair but no good when it was just me and a car. They were also too big to get in the boot of the car I had (bad choice on my part). So they went (to Jon Caulfield in Cardiff, IIRC). Great sounding gear but completely impractical.

I'm with Doddy - practice more. The better my technique, the better my sound. Practice with your amp. Turn it up louder and play softer. Also, get your drummer to try different cymbals - that will have more effect than a compressor!!

Isn't Kent Armstrong the alter ego of Superspiderbatman?

AARGH! I've had a smiley over dose :lol: Welcome, James.

Fortunately, we don't have to choose between 'formal' learning and the more intuitive stuff. You can, and probably should, do both.

My only criticism on your position, Nigel, is that there are many impressionable people out there who look to established folk for advice on what is the besty to get better. My position is to advocate the btroadest possible learning experiences and the widest possible range of tools. That way, a developing player can get good and keep getting good as they find themselves. If i use myself as an example, I started on ELO then Iron Maiden/NWOBHM, Rock, Prog, fusion, Jazz. If I had stuck with the 'stuff I needed' at stage one of that journey, I may have been denied the opportunity to move onto the other stages and shot myself in the foot in terms of the real journey I was on as opposed to the one I thought I was on a 17. Of course people can 'get away with' limited learning (there are millionaires with [i]that[/i] CV) but I always advocate for the widest learning possible to ensure that the individual's potential is given the best possible chance. Its easy to think you are good when you are the best player in Aberystwyth, for example. Its what you are like when you leave that will count. The thing I hear most from older players (espacially the ones that give up) is 'I wish I had......'. All I say is 'do the work and it will pay you back'. Advocating for the shortest distance between two points is irresposnible, IMO. But then again, I may be a total arse.....

Useful (free) resource if you are looking for a chart... Its a searchable index to the top 75 fake books. Type in the tune you are looking for and the search engine tells you what fake books there are charts in (includes Aebersolds). Note it does not provide the music itself, it merely tells you in which book(s) you can find the tune you are looking for. [url="http://www.seventhstring.com/fbi/aboutfbi.html"]http://www.seventhstring.com/fbi/aboutfbi.html[/url]

How would you get this in your ear?

[quote name='charic' post='1357668' date='Aug 31 2011, 04:06 PM']I've never got my head around Jazz though.[/quote] Then its about time you tried. Tracks (these are designed to be accessible): Medeski Martin and Wood w John Scofield: 'Julia' Brand X ' And So To F' and 'April' Bruford: 'Joe Frazier' Jaco Pastorius: 'John and Mary' Martin Taylor 'Frankie and Johnnie' CDs: 'Have a Little Faith' by Bill Frissel. Mike Stern's 'Upside Downside' Dixie Dregs: 'What If' or their 'Night Of The Living Dregs' CD Al DiMeola's CD 'Casino' Pat Metheny: American Garage

[quote name='Fat Rich' post='1357623' date='Aug 31 2011, 03:18 PM']Have you ever considered becoming a motivational speaker? [/quote] You mean a manipulative, opportunisitc, cheesy grinned to**er? No.

I just think that, by not playing your bass, you have 'forgotton' your abilities and are enjoying rediscovering them. If you stick with it, you will start to see your shortcomings again.

[quote name='Lfalex v1.1' post='1357381' date='Aug 31 2011, 12:08 PM']But Steve and Bilbo are "pros" (as in they make a living out of playing), hence their perspectives on such matters.[/quote] Sitting here at my Senior Probation Officer desk, I am thrilled to discover that I am a pro musicain. Does that mean I can go home now?

[quote name='Johnston' post='1357345' date='Aug 31 2011, 11:53 AM']why would you need to read except for your own satisfaction on any instrument?[/quote] Because, if you play in one band with one set, gig after gig, it is easy to remember details. If you play in loads of bands with different line-ups, different set lists with every gig being a different band and a different set of changes in different keys etc, the reading makes it easier to nail stuff and sound sophisticated without requiring the memory/recall of a herd of elephants.

[quote name='BigRedX' post='1357341' date='Aug 31 2011, 11:47 AM']Besides this thread is about progress on an instrument by playing another, not about being able to read.[/quote] I have alwasy felt that my progress as a rounded musician is tied in very closely to my reading. I play guitar and read guitar charts (slowly), I write charts for other musicians (inc transposing instruments), I arrange stuff, read theory books etc all of which would be that much harder without the dots. My guitar playing (which is fair) does not improve my bass playing, it improves my understanding of the bigger picture, musically. THAT is what improves my playing. I would also add that reading/playing through Bach Cello Suites has really improved my ear as well as my reading.

[quote name='silddx' post='1356833' date='Aug 30 2011, 08:52 PM']I am finally happy not being a reader, I got fed up of feeling guilty about it and shed that stupid burden.[/quote] It'll never last....

[quote name='steve' post='1357010' date='Aug 30 2011, 11:20 PM']if you're using the bow, I've grown to like Simandl[/quote] Tarlton's 'Sevcik - 'The Essentials of Bow for Double Bass' is also good for arco.

I used to thrive on this kind of stuff but can't get excited any more. Bit souless. Great players but emotionally two dimensional. I know that's not really a fair criticism but its just not working for me. I may try again later.

Carles Benavent

Sounds lovely, Daf. Really warm (and its nice to hear a band that isn't thrashing aroundo get attention!!)

[quote name='Blademan_98' post='1352750' date='Aug 26 2011, 05:19 PM']I love this forum. A thread on a 70's prog rock band decends into a LOTR discussion. Fantastic![/quote] The band are called Shadowfax, FFS

Our percussionist uses one. We have a demo 'in the can' that I am hoping to post some time soon.

[quote name='Simon.' post='1344573' date='Aug 18 2011, 04:46 PM']Can't Take My Eyes Off YouMe and My Shadow My Way Mack the Knife Beyond the Sea Ain't that a Kick in the Head L-O-V-E I've Got You Under my Skin Luck be a Lady[/quote] Simon still needs these ( I haven't got them, they are in other people's pads I play with, not in any of the books I have)

I swaer by Rotosound Solo Bass - they are grounwound (flattended roundwounds). 23 years and no fretboard wear on my Wal. Your exisiting strings may chew the fretboard up so I would consider a change if I were you. Welcome to the world of iffy intonation

[quote name='lojo' post='1350323' date='Aug 24 2011, 03:06 PM']Is Shadowfax, Gandalfs horse ?[/quote] Technically, he was Theodin's He was a horse of Rohan, the chief of the Mearas. Like the other mearas, Shadowfax was a grey or silver stallion and could understand the speech of Men. He was seemingly fearless. He could run faster than any other horse in Middle-earth. Nobody could ride Shadowfax save Gandalf, and he was later given to Gandalf by King Théoden. He would not tolerate a bridle or saddle, and carried Gandalf by his own choice. His name means Shadow-mane (Old Norse fax meaning "mane"); the name derives from the horses Skinfaxi and Hrímfaxi in Norse Mythology. In an unpublished epilogue[17] and a letter[18] Tolkien stated that Shadowfax passed West over the Sea with Gandalf; in The Lord of the Rings Gandalf appears with a "great grey horse" on the quay just before departing, and he had earlier promised Shadowfax (in the chapter "The White Rider") that they would not be parted again in this world.

Oh, THAT's what it was.... I have been carrying around for a decade without knowing what it is for....