Bilbo

Welcome, Si. You didn't tell us what basses you played. Gear is the main topic of conversation here I (despite my efforts) and people will be interested!

I think it is part of thei Big Society thing. We should all stop being paid and do it for free for the welfare and well being of our communties.

Yes, I would play if there was no money in it but only if there was no money for anyone, not just me/my band. I won't be exploited and, if I am going to do it for nothing, it would be entirely on my terms.

[quote name='skankdelvar' post='1135573' date='Feb 21 2011, 03:06 PM']Once you find a sim that works for you, try the following: * Record your bass part clean * Copy the part to an adjacent track making sure they're perfectly aligned * Put the amp sim on the second track * Mute the clean track and fiddle with the amp sim till you get close to a sound you like * Unmute the clean track * Fiddle with the volume balance between the two, applying appropriate EQ, compression etc to each track until it sounds nice. The clean track supplies definition, the sim track adds warmth, etc. After all this fun, you can always send the two tracks to a bus, track folder, whatever, for kick drum ducking, etc.[/quote] Marvellous. Why didn't I think of that....

[quote name='Lozz196' post='1135300' date='Feb 21 2011, 11:51 AM']Pump It Up - Elvis Costello Nice & Sleazy - The Stranglers Down in the Tube Station - The Jam Its Too Bad - The Jam Substitute - The Sex Pistols version, that is London Calling - The Clash Babylons Burning - The Ruts[/quote] Nice set!

Incompatibilidade De Genios by Joao Bosco O Cantador/Like A Lover by Dori Caymmi

Haslip is hard to copy because he plays his bass left handed but upside down (high G on the top, low B on the bottom) That first Yellowjackets album was great. They had a few good ones, then some that were a bit 'lightweight' and then they picked up again. Not heard anything new from them in a while (not listening to fusion at the mo..). There is a track on his ARC solo cd called Ninos that is beautiful (no bass solo, just a beautiful piece of music with the bass playing the melody in unison with a soprano sax). I have tried to transcribe it but I can't get the chords at all. If anyone has them, I would love to see a copy?

Annually, whether we need to or not.

Reading this thread gives me the willies. I might as well stick with the day job as go out there raking over these old cadavers. 'We play stuff WE like, not what they want' - easy to say when what you like is coincidentally what they want you to play. Its like the Yes men in a company - the boss never tells them what to do because s/he never [i]needs[/i] to tell them what to do. There are people here who will play anything for money and those who will play anything whether there is money on offer or not. What I can't see is anything remotely interesting to listen to/watch. Venues will book you if you list a few 'popular' acts? Discerning or what? Its all feels a little tired to me.

If by drop tuning you mean the four strings have the same relationships to each other as the normal tuning (i.e. fourths), but down a minor third, then everything will be the same except where the notes are on the neck. i.e. a major scale will be the same shape as it was on a conventional bass but will start on a different fret. If you are tuning to an open tuning, then you're on your own

I have an M-Audio Prokeys 88 which has the usual piano, organ, clavinet, rhodes, strings etc sounds. Affordable, 88 note weighted keys, headphones etc. I use it as a learning thing (voicings etc) and midi controller but can't really play it but I would suspect it is exactly the kind of thing you want for a price that is in your range. [url="http://www.google.co.uk/products/catalog?q=m+audio+prokeys&hl=en&cid=3664383651184041090&ei=21BeTdfTMNGx-Qb9qtGWCQ&sa=title&ved=0CAwQ8wIwATgA#p"]M Audio Prokeys 88 stage piano[/url]

Living Sound, a Christian band who played at our school when I was about 11. The band did a set and the whole religious thing went right over my head but the sound of a live band was something else. I took a lot of inspiration from that and started 'noticing' musicians much more from then on until I got a guitar for noodling on at 14 and started playing bass seriously at 17.

[quote name='slobluesine' post='1131349' date='Feb 17 2011, 06:07 PM']lots of related tips here folks... [url="http://www.doublebasschat.com/forum/showthread.php?t=9859"]http://www.doublebasschat.com/forum/showthread.php?t=9859[/url][/quote] Some helpful stuff in there (some less so !!). Many thanks.

If you have no reading skills, get some. Reading walking lines is easy as there are no complex rhythms, just straight quarter notes. Doddy is right, you need chord and scale theory to do it properly. Get loads of jazz cds and listen to the walking bass lines. Then, in about 20 years, you should be ready Seriously, walking bass is one of those things that takes a short while to learn and a lifetime to master. If you are playing standards, get the lead sheets and listen to the versions your singer wants to mirror, just to get a feel for where the harmony goes. Hum the root notes as the charts pass and try to internalise the root movement. Then fill in the gaps. Remember, the lead sheets may not be in teh same key as the singer wants to play the tunes so, if s/he has charts, use them.

[quote name='Doddy' post='1131083' date='Feb 17 2011, 02:42 PM']I find that I tire quicker if I've either not been playing it enough,or more often than not because I'm having trouble hearing myself. If I'm struggling to hear what I'm doing,I naturally start to play harder,and I tire out a lot quicker. I'm the same with electric bass,but it's not as obvious.[/quote] Is the problem about monitoring or other players being too loud? I did a gig in December in which my bass sounded great and the drummer, Alex Best from Ipswich, was sensitive to the situation and played Jimmy Cobb not Elvin Jones. The consequence was a solid swinging performance of two hours worth of jazz standards. Other gigs I have done with louder room noise have resulted in me struggling and losing momentun much earlier on. But I am not sure if I just need to turn up (risking feedback) or add some form of additional monitoring.

In the era when these guys were at the height of their powers, most jazz clubs in the US used to book acts for anythin up to 6 weeks at a time. I have no doubt that 4 sets a night 7 nights a week is going to give you stamina (or kill you )

I am interested in the fact that some report that the number of gigs they get has increased since taking up the double bass. To my surprise, I have found that, since taking it up, the number of gigs I have done has nosedived! 2 in Jan, 2 in Feb, none in March, 4 in April - that'll be 24 all year - my lowest in a decade! I think I am just unlucky and the gigs in this area are just drying up because of the recession (although I heard recently of a crap local jazz quartet (all beginners) are doing gigs for nothing to get experience. Thanks guys )

I am a 14 months into the double bass and have done gigs where I have played two sets without any problems and others where I have to go to the Wal after one. I am still finding that my levels of stamina for playing double bass are inconsistent. I also find that the volume of the band impacts upon my technique to the detriment of the longevity of my effectiveness. I assume this will rectify itself as I play more and more but wondered if there were any stories out there?

I have been raking about in the AACM/Art Ensemble of Chicago back catalogue for the last few days. I got hold of a Kindle book called 'A Power Stronger Than Itself' by George E Lewis all about the Association for the Advancement of Creative Musicians and wanted to see what was happening. [url="https://www.amazon.co.uk/Power-Stronger-Than-Itself-Experimental/dp/0226476960/ref=sr_1_1?s=books&ie=UTF8&qid=1297940528&sr=1-1"]'A Power Stronger Than Itself' by George E Lewis [/url] Have downloaded some World Saxophone Quartet, the Oliver Lake Big Band, the David Murray Big Band etc. Some really challenging stuff, some delights and some train wrecks! But exciting stuff because it comes from a passion for the music and not a yearning for nostalgia!

[quote name='chris_b' post='1129868' date='Feb 16 2011, 04:47 PM']I think you've lost sight of the fact that the OP had a problem and he was asking advice about a fix for that problem. His problem won't be resolved by any of us discussing modes, syncopation or what ever part of music theory you deem to be of importance, or even cabbage.[/quote] My point was that the OP's problem is not a problem, its a choice. Any of the available alternatives will do and the differences will be barely discernable to 99% of the population. Unlike cabbage, where considerably more people have a preference based on knowledge and experience.

[quote name='silddx' post='1129853' date='Feb 16 2011, 04:29 PM']Would you kindly also note the tonal differences between the white, green, red and savoy varieties, please. Is curly kale an option? I've heard the heart is not as sturdy as the others, but it has a higher iron content.[/quote] Now you're being silly.

CELERYYYYYYYYYYYY, CALL ON ME, CALL ON MEEEEEEEEEEEEEE, CELERY!!!

When you add in the player, the strings, the wood, the room, the pickups, the on board eq, the amp, the effects, the speaker efficiency, the other instruments, the cymbals (especially the cymbals), the phases of the moon and the Lord of the Rings, I would see the material of the nut to be less relevant than cabbage.

[quote name='thumperbob 2002' post='1129361' date='Feb 16 2011, 10:57 AM']Pretty amazed Bilbo cant tell the difference between a Jazz and P.....[/quote] I cope

I change amps every 15 years, whether I need to or not. Basses, every 40 or so.