Bilbo

I have used that Band In A Box shortcut thing to demo tunes too, Mike. I take the midi file over to Cubase and then change the sounds to various Halion samples or Absynth, Massive, Juno - whatever is on there, really (I am no tech-head) . Great way to demo things 'convincingly' although, as I can only play bass and guitar, my options for melodies are limited. I try to sing to 'get the feel' of a song but my voice is weak and often does more harm than good!! I have also done the same with Sibelius charts; written out the part and copied the midi file into Cubase and changed the samples to better quality ones. I'll post some later, if I remember. PS - my Paul Chambers biography is in the later stages of editing but, equally exciting, I have been put forward to write a monthly jazz column for a local arts magazine. May come to nothing but I can only keep trying!!!

I have one bass and one amp. I use the set up at every gig and have done for well over 20 years. What damage there is has occured during load ins/outs and not as a result of the actions of others but by my clumsiness. Nevertheless, the gear all still works. I have had three or four repairs to amps in 30 years and one to a bass. I'd call that reasonable wear and tear, all things considered. Like the OP, however, I have to say I almost never see any boutique gear anywhere, amps or basses. My kid brother runs a Harley repair shop and tells me most Harley's, certainly the better ones, are owned by middle aged men in the middle of a mid-life crisis who only every take them out when the sun is shining. I can't say the same would apply to bass players but I do sometimes wonder whether there is an unconscious tendency to want to 'buy' a better playing experience rather then earn it by concerted practice. I find that I want the music to be better and have yet to feel that I can attribute any shortcomings in that area to the instrument I am playing (or any of the gear owned by anyone else I play with, for that matter). I find the gear is a tiny part of the equation. They all sound like basses to me

My dog has a lead that is nine years old. Does that count?

I have used Rotosound Solo bass strings on the same bass since 1986 and have never had a problem with fretboard wear. I generally get a positive response to my sound and have never had anyone criticise it so see no reason to look for another product unless Rotosound ever cease makign them. NB I change them every decase whether I need to or not. Last string change was, IIRC, pre-Millenium.

No brainer. All Jazz is Super......

[quote name='Earbrass' post='1324389' date='Aug 2 2011, 03:38 PM']I know what you mean - there's no point in endlessly repeating stuff you can play comfortably - but on the other hand, I'm not sure that being in a permanent state of frustration with one's instrument is all that helpful either, and could even lead to some people giving up altogether.[/quote] That's about playing time, not practising. You practise to improve your playing; the reward is being more comfortable and at ease in the playing you do after you have practised. I agree with the need to ensure that you reward yourself with playing but I think it is important to distinguish between what is practising and what is playing. You can play forever and never practice anything. I just decided I don't know how to spell practice/practise/practicing/practising. Maybe I should try harder.

If you haven't got a knot of frustration in your stomach when you are practising, you are probably not learning anything new and should find something more challenging/demanding which does produce that visceral effect.

Recommended.... (I have it on my desk in work) [url="http://www.amazon.co.uk/Encyclopedia-Reading-Rhythms-Workbook-Instruments/dp/0793573793/ref=cm_cr-mr-title"]http://www.amazon.co.uk/Encyclopedia-Readi...=cm_cr-mr-title[/url]

Its Jaco guesting with the Gil Evans Orchestra - Egan was the bass player on the gig, Jaco was 'visiting'. The mud was slung by previous Basschat members who 'don't get' him. For the record, the band are shocking.

Some nice sounds in there, Mike. Do you programme everything yourself? Or are they stock backing tracks? More to the point,. I had that Cool struttin' lp cover on a t-shirt years ago, when Jazzwise started. Its long gone but its a great LP for hearing Paul Chambers

[quote name='lobematt' post='1320135' date='Jul 29 2011, 10:17 AM']Thanks for all the replies. Tapping out the rhythm sounds like a good idea, my problem is though I don't know if I'm doing it right and theres not much point practising something wrong? [/quote] You are missing the point. Its the doing of it that you need to practice. Getting it absolutely right is not actually that important at this stage (it will quickly become obvious as things fall apart when you get it wrong, which you will). What you are doing is practicing something that you can already do but not very quickly. Reading one bar of a rhythm is not that hard. Reading two is a little harder, four starts to get tough but the real test is reading pages and pages of stuff. WHen I say look at a random chart and tap out rhythms, you are not practising 'getting it right' in the conventional sense. you are simply practising 'doing it'. As you get better at 'doing it', you can then focus on 'getting it right'.

[quote name='Skol303' post='1319339' date='Jul 28 2011, 02:25 PM']I mean, where does one opinion end and another begin...?? [/quote] When one basschatter's post stops and another starts.... Seriously, though, I think technique in music is like technique in acting; if you can see it happening, its not working. Trouble is that there are more impressionable kids whose heads are turned by Wootenesque excess than there are people who can recognise what makes a great musician truly great. It distorts everything. I was thinking about the slapping/popping/tapping stuff and wondered how many notes are played with those techniques that are truly musically appropriate as opposed to showboating. I suspect the ratio is not in favvour of musicality.

You choose.....

[quote name='james_guitar' post='1318908' date='Jul 28 2011, 02:41 AM'](Swing/Jazz) - Moondance - Van Morrison[/quote] Wrong on both counts

I don't think its a case of plucking that e-string as hard as possible but of plucking it as hard as you are going to when you are perfroming. If you are plucking it as hard as possible when you are playing, you will lose all the finesse in your technique.

[quote name='Earbrass' post='1318405' date='Jul 27 2011, 04:24 PM'][attachment=85767:Bilbo1.JPG][/quote] These Victoria and Albert theme nights will be the death of me. PS the beard went months ago....

Me far right. I guess that's a high, then? (Note: Lord Voldermort hiding in my shirt)

Another simple exercise is to take any chart of any type in any clef and just read the rhythms (i.e. don't worry about what the notes are just their time values). Tap them out on a table top - you can do this away from your bass. Time well spent.

[quote name='lojo' post='1317512' date='Jul 26 2011, 07:25 PM']Would going from Jazz to Rock be like shrinking ?[/quote] No, shriveling

Metal - Rock - Fusion - Jazz Felt like a pretty organic process. I grew and the music grew with me.

An interesting debate. I think there is an interesting tension between the idea of the art and craft of music, the art and craft of entertainment and the complex dynamics of genre and the market. It is perfectly possible to have a career as a 'musician' without any significant technique (e.g. Adam Clayton) and to have great technique and little or no market for what you do. In simple terms, technique stops and music begins when the artist/performer does not have to seek the means to execute his or her ideas but has them at her or his fingertips. I guess this means different things to different people and a metal bassist a la Cliff Williams will have no strong ambition to excel 'tedhnically' whereas Jeff Berlin will define his development by this aspect of his playing. Horses for courses. The fact is, the overarching 'market' that is music has no baseline (sic) for competence. If you can hold a bass in a video, that'a all that is required for some producers. Others (Becker & Fagan?)look for something that is much harder to define.

Patience. Reading rhythms is a process that takes time and continnued practice to develop. Start with quarter notes and rests, then move onto eigth notes and rests and when you have mastered them, and only when you have mastered them, move on to 16ths. When you get onto 16th, you will soon realise that they are simply 8ths going by quicker and are actually quite easy to read. But the message is, TAKE YOUR TIME!! It will come. If you rush, you will not consolidate your learning.

Works for me, mate.

That solo bass piece is beautiful, Kevin. Unlike most solo electric bass, it is sold by the harmonic and melodic content, not by the technique (which is there in spades but serving the performance, not defining it). Great stuff.