bassace

Don’t be silly, I’m a bass player.

Nobody remember Ted Wallace? A bit boutique but surely someone.

Elastic bands? R Harris Stylophone?

I used a Leak TL 50 mono hifi amp with a pair of KT88s at the output. A home built valve preamp and Goodmans 18” completed the rig. With a DB, of course. I had that in the sixties, there wasn’t much else around in those days. We played support to a band who had a very young Elkie Brooks on vocals. When they wheeled in a B15 I’d never seen anything so cool.

Actually yesterday afternoon. I was with a four piece, clarinet, keyboard, bass, drums. We played for a private party of 19 posh people on a Thames river boat, capacity 100, departing from the Compleat Angler at Marlow. Hotel people were very nice, waiving the £10 parking charge and charging only £3.20 for a lime and soda. When the host arrived there as a bit of a row because he was expecting a six piece trad band - usual agency pink torpedo up. But once we got under way everyone was happy, probably aided and abetted by copious amounts of champagne served all afternoon. The gig was fro1.00 to 6.00 - yes, that’s five hours. But we took it steady, not allowed to play in locks and a great afternoon was had by all. At the end the host bunged us a £150 tip and his gorgeous young partner insisted on energetically kissing all the band with great enthusiasm. And I got seconds.Whats not to like. I got up at 8 this morning fresh as.

I like 90% of them. I voted for Nobody Does it Better simply because Carly Simon had one of the best voices in the business. I agree re Gladys Knight too. And can anyone ever arrange strings better than John Barry did? You see, by having to have just one favourite you’re shutting out so much other good stuff.

Me too, TBH

I had a gig last night.

Our song was a Sweden reject, I understand. Good, half-hearted way to start.

The Union flag hung upside down signals distress........

Good call sir.

As I was starting to read this thread I suddenly realised that I’d left my music stand behind at last night’s gig. In a panic I phoned one of the musos who had scooped it up as one of his, so I’ll be reunited with it next time I see him, which could be a while with that particular band. I usually use an iPad for chords so I won’t miss the music stand until the next time I’m presented with a pad (usually quite thick).

I played a nice set at Abingdon Jazz Festival yesterday evening. Here is pic of the get in. With a double bass.

I use an ATM350 from time to time and it comes very close in performance to the DPA. It sounds particularly good with a simple ART tube preamp, a single valve job that provides phantom power, phase reverse and output/input pots. With the valve it gives a nice warmth to the signal. And it’s cheap, at less than £50.

Come on guys. A few more and we’ll have everyone, good bad and indifferent.

Haven’t a clue who most of the guys are. Are they all great? I’ll throw these in from my side of the fence:- Sam Jones, Louis Hayes Ray Brown, Ed Thigpen Anyone who ever powered the Basie band.

If you’re ever up the M4, B-b, I have a gig with a seven piece every Tuesday at Theale, just a mile off Junction 12. Yes, that narrow bridge is a funny thing with Bryant basses. The feet don’t quite get to the bass bar, a prob that a good luthier can sort out. Laurence Dixon in my case. Strangely Paul Bryant has a s/h bass for sale in Musical Chairs right now. He doesn’t list it as one of his, possibly because of the less than pristine condition that suggests he could have taken it in as a part exchange. But it looks like a Bryant. And at £2800, hmm. BTW, I’ve never considered my bass rustic. It is after all a hand made, hand finished instrument.l

It’s a funny old game. I’ve had a lot of very nice double basses but many of those, while being ‘OK’ have lacked the clarity and playability that we seek. Nowadays people often come up to me to compliment me on my tone/playing. My reply is that I’ve spent an awful lot of money getting there. So how to do it? I’ve always played on Spiro Mitts, never swerved in the past 50 odd years. And I’ve finally come to the ‘right’ bass. It’s a Bryant, not too expensive either.

If I see an ad for a piece of gear that I own, or have owned, I see no harm in putting up a favourable comment if it deserves one. If I’ve had a contrary experience I keep quiet. I see no problem with that.

It’s out of control.

A TecAmp Puma isn’t much bigger than a book. I have a 500watt model that lives under the passenger seat.

Class!

Good explanation. As a jazzer I’d certainly like to get down to Eb, not too bothered about the lower notes. I wonder whether those extensions are more prone to damage with regular gigs. One further thought: my perception is that extensions are favoured in UK orchestras while in Europe (whoops) five stringers are the norm. I could be wrong.