Bilbo

Ain't Nobody - hate it. Doesn't groove, doesn't do anything. Punters love it. Go figure.

I am on such a steep learninig curve with the double bass that an hour spent on that sees a greater return that an hour spent on the Wal.

The hardest thing about finding your own sound is in the acceptance that you already have it.

[quote name='HMX' post='1122065' date='Feb 9 2011, 11:09 PM']My dad really got me into ELO tunes.[/quote] Thunk (head hits table)

Transcribe is great - I live by it. Learn to read music and it will be even better. Which little town is Wales (I'm Welsh)?

[quote name='clagooey' post='1123598' date='Feb 11 2011, 09:52 AM']I assume you accidentally switched the first two note values here...! I hope you don't mind me editing it slightly so people just starting out don't get too confused:[/quote] Nothing accidental about it. I was plain wrong I have been operating on a misconception for a decade or more...... Thanks for the correction. - I have fixed it as you suggested to avoid confusing any newcomers (or 30 year vets who should know better). I have learned something today (about humility apart from anything else!!)

[quote name='Gareth Hughes' post='1123097' date='Feb 10 2011, 07:45 PM']Ron Carter is over 6 foot tall,[/quote] 6' 4'' to be exact - it amused me that the bass player that replaced 'Big Paul' is Miles' band was 'even bigger Ron'.

RUN!!!!!

John Patitucci - Imprint

On the occasion I traded, the other guy came to my house and we did the deal there. He took a six string version of his bass and I got a 5 string version in return. He did well out of the deal but I did it with my eyes open. Its a judgement call. Some trades include an additional exchange of cash one way or ther other but that has to be negotiated on a case by case basis, The whole transaction is a matter for the individuals concerned. Personally, I wouldn't trade by post (i.e without seeing the bass) unless I knew the other party well and could be sure of their integrity.

I am watching this aspect of playing the double bass very carefully. My thoughts (and I would be loathe to take this as expert advice) are that the important thing is to keep the wrist straight (which requires you to keep the arm. elbow up) and, over time, develop the grace (not strength) within your hand to make sure it is working as efficiently as possible. My action is a little tougher than other basses I have played but, as I have progressed, I have found that it is not that I was too weak to play it properly but that the muscles in my left hand were not yet working together to get the most secure fretting of the note, particularly at speed. As I have practiced and progressed, my left hand is gradually getting more relaxed and more able to execute ideas without 'collapsing' into a claw shape (as it did early on). I particularly find it important to ensure that the thumb continues to work as a pivot and that the left hand doesn't 'grab' the neck. This grabbing is, if I am reading the symptoms correctly, a consequence of fatigue which is reducing as I play more and improve the efficiency of my left hand. I have, however, pulled a muscle in my upper arm and am having to manage that as I practice. am a great believer in the benefits of the Alexander Technique and am learning to listen to my body as it finds its way. My biggest challenge at the moment, however, is trying to play without gritting my teeth!!

Was it Breath by The Prodigy

Where are you? I have a MU directory that cover the UK! Must be some numbers in there!! Call a local teacher (see Google) and ask if they have any students who may want to branch out.

I love percussionists. There are so few good ones about (in Suffolk). I'd also love to be in a tango band with a real bandoneon (preferrably one who could play like Richard Galliano or Astor Piazolla).

This is in your price range and will get you gigging. Needs no modifications to the bass. [url="http://www.gollihurmusic.com/product/1426-KANDK_SOUND_DOUBLE_BIG_TWIN_UPRIGHT_BASS_PICKUP.html"]K&K Double Big Twin pick up[/url]

[quote name='owen' post='1119646' date='Feb 7 2011, 11:36 PM']Bilbo, did you import that from the US?[/quote] Yes. It cost £37 in duties, IIRC. So work out the cost of the bow + p+p in sterling, add £40 and that will be roughly what you will end up paying. These bows are not expensive - you can spend £10K or even £20K on a bow!! The Finale's are (by reputation) competitive with bows worth up to £4K - the carbon fibre bows are a lot more robust and less likely to get broken than wooden ones and also don't react to atmospheric extremes. I like mine and I like the sound I get with it but I am an arco beginner so what would I know

I got mine from Gedo Musik (Czech made) by mail order and am perfectly happy with it as a starter bass. From what I can gather, even if you tried a Thomann somewhere in the UK, because of all of the variables involved, it would not guarantee anything in terms of the bass you actually got if you ordered one. My advice is to select one that you can afford and meets the specificiation you think will meet your needs and then order it. If you don't like it, you can always return it. PS my £1.5k bass has already gigged several times with no complaints and there are recordings here: [url="http://basschat.co.uk/index.php?showtopic=119653"]http://basschat.co.uk/index.php?showtopic=119653[/url] Its not a £12K Italian bass but it makes a double bass sound and got me gigging. For the record, of my six instruments (4 guitars, 1 electric bass and 1 double bass), 4 were purchased by mail order (including both basses). Just go for it and start making music.

[quote name='Mike' post='1119081' date='Feb 7 2011, 04:45 PM']Thanks for sharing, great. Makes me want an Imperial. Oh, and to be miles better![/quote] This is what I mean about the Jeff Berlin thread. Bona makes this happen in most players, JB rarely achieves that level of inspiration, even though his notes per second ratio is probably greater.

I'd leave the band

My problem is that I can admire JB, his technical skills, knowledge etc, but I just don't enjoy his music. I have Champions and Pump It (on vinyl) and liked them both for a while but his last few cds have come and gone because, for me, after the 'wow', there is nothing very nice to listen to. Excellent example of when astonishing technique is not enough. I still, however, agree 110% with his advocacy of musical literacy (in its broadest sense) and the rejection of short termism and short cuts.

Have had mine for 26 years next month. Its a keeper.

I have one of these (French) and like it but it may be out of your price range. [url="http://www.stringemporium.com/carbon-fiber-upright-bass-bows.htm"]String Emporium Finale carbon fiber bow[/url]

A flat third is in no way a second, You can flatten a second (a flattened ninth) but they are pretty much never sharpened (although you do get sharpened ninths). A flattened third is what defines all minor chords. Most music could not exist without this little sucker. I think you may have some misunderstandings about scale/chord theory.

[quote name='lojo' post='1118187' date='Feb 6 2011, 08:11 PM']I had a Dave Holland album once, nice to fall asleep to, think its was called emerald something, double bass though not electric[/quote] Emerald Tears Also One's All and Life Cycle (Dave Holland on cello) I like Edgar Meyer's version of the Bach Cello Suites.

In jazz, we only use the ascending version of the melodic minor scale so the descending G lyd dominat would also have the C# and not the C natural. As the main solo section of Night in Tunisia is Eb7 to Dm6, the most obvious scale to use is the Phrygian and lydian modes of Bb major. By using the lydian dominant, however, you are creating a tension between the phrygian which has a natural D and the Eb lydian dom which has a flattened D. If you just solo on a G lydian dominant (GABC#DEFG), you are not playing the Eb so the harmoninc movement will be lost. I would recommend soloing 'around' the Eb lydian dominant not the G during the Eb/D passage