bassace

[quote name='Annoying Twit' timestamp='1438278704' post='2833221'] There's one level 'below' bass guitar (according to that forum) - Banjo! [/quote] One tune featuring the banjo was Stop Stop Stop. How appropriate.

I never could tell the bottom from the top. Got me into all kinds of trouble.

Napier-Bell? Yes, there were good guitar-based groups around and also TV pop programmes to promote the music - Six FiveSpecial, Oh Boy etc. But the Beatles effect on the scene and the national psyche was immense. Their early music and lyrics were accessible and appealed across the generations. Even the jazzers who had eschewed any sort of pop music were beginning to take note and incorporate Beatles stuff into their sets, mainly because the tunes' formats and chord sequences followed those of the 'standards' that had formed the backbone of the Jazz repertoire. Ella recorded a seminal version of Can't Buy Me Love. The latest Beatles recording was eagerly awaited and, of course, the song rushed to the No1 position. Also, the boys made themselves accessible to live radio - yes, actually live playing in the studio where their songs were followed by witty repartee, mainly from John Lennon. Example, 'are you mods or rockers?' 'We're mockers' And everyone adopted their dress style, collarless jackets, button down or tab collar shirts (we all wore ties in those days), slim trousers and Cuban heeled winkle picker boots. Heady days!

Yes please. [font=arial,helvetica,sans-serif][color=#282828]1. Hamster -[/color] [color=#282828]2. Silverfoxnik - BC Rich Eagle, Schecter Diamond P5, Levinson Blade B15, Yamaha BB300, amp & cab tbc[/color] [color=#282828]3. Billy Apple - Spector, Jule Monique, Demeter Minnie, EAD[/color] [color=#282828]4. Happy Jack - The Entire Population Of China[/color] [color=#282828]5. Bluejay - something lefty, provided I don't have another senior moment and leave it/them at home[/color] [color=#282828]6. Bassman Steve - Boogie and Barefaced stuff and a Precision or two[/color] [color=#282828]7. obbm - new micro-stack[/color] [color=#282828]8. Kiwi (?) - GB Shuttle 6.0 and two fEARful F112 cabs, Spector 5, Status 5, Alembic, Pedulla...and maybe the Steinberger[/color] [color=#282828]9. Bottle - 1x12 Cab and 1x10 Combo, FX boards and rack amp, Ibanez bass.[/color] [color=#282828]10. TheGreek - something a little bit different[/color] [color=#282828]11. Mykesbass - Shuker 5 string fretless (old style P Bass), Carvin BX500 Head, Fender Rumble V3 112 cab.[/color] [color=#282828]12. Shockwave - Musicman Stingray 4, 3EQ, Could possibly bring my big pedalboard, but no amp to play through![/color] [color=#282828]13. Lozz196 (?)[/color] [color=#282828]14. Merton - ACG Finn, Status Retroactive, possibly some Ashdown valve and Barefaced Gen 3 gear[/color] [color=#282828]15. Oldman - with some stuff ( [/color] [color=#282828] )[/color] [color=#282828]16. Russ - Sei singlecut, Spector, maybe my Ibanez sixer, and my Barefaced Big Twin II and Ampeg SVT-7. Maybe a few pedals too.[/color] [color=#282828]17. Dropzone - interested in knowing about amps[/color] [color=#282828]18. BobVbass (?) - will probably drag RhandyThodes as well if he's about and bring Lakland Duck Dunn, Paisley P bass, Framus Double bass, Markbass and Barefaced Super 12T[/color] [color=#282828]19. Randythoades (?) - MIJ Aria basses, slimline upright, Ashdown cabs and GK head. Plus any acoustic /electric guitar related items too if needed[/color] [color=#282828]20. Rumblefish - Mesa Boogie Pulse 600,Berg CN 212,Reverend Rumblefish bass[/color] [color=#282828]21. hen_barn - Status kingbass, Status 5 string series 1, Tecamp puma 500, Vanderklays 2x10 1x12[/color] [color=#282828]22. JapanAxe - [/color][color=#282828]'73 Precision, Sandberg California VM4, G&L L1505, Fender Pawn Shop Mustang, Demeter VTBP-M-800D, Genz Benz Streamliner 900, Barefaced Compact & Midget[/color] [color=#282828]23. Sibob (?) - Fodera MGS, either a '71 Precision, Fender Japan/USA Precision Build or Fender Japan Medium Scale Jazz, LM2, Barefaced, Pedulz[/color][/font] [font=arial,helvetica,sans-serif][color=#282828]24. Hector (?) - DeGier Bebop 5 and Limelight 63P. Could also bring my Tone Hammer pre[/color][/font] [font=arial,helvetica,sans-serif][color=#282828]25. such - Fender Marcus and a couple of pedals, Cali76, Aguilar Tone Hammer, Joyo American[/color][/font] [font=arial,helvetica,sans-serif][color=#282828]26. Barneyg42 - Status 5 string S2 Classic (green LEDs), Status Series 1 5 string; TC BH500 into BC210 and 212[/color][/font] 27. Bassace - Bryant double bass, Clarus head and Crazy8 cab

The Crazy 8 is quite amazing. I used mine last Sunday with a gtr/DB/drums trio at Blenheim Palace in front of 140 diners. It coped under a Puma 500 very well with loads of bottom. I see that bass supremo Mike Arnopol who created the 8 has just come up with a 6" - the mind boggles. FYI, Geoff and others, I had a Phil Jones 4x4 and found it a bit 'taut' if that makes any sense.

Oh dear, it would have been a great show without having to suffer the blessed Jools in between the historical archive items. And I'm aware that Dave Swift is a very nice bloke but can he please try to get a bit of sustain instead of the continuous thudding noise. You just can't distinguish any of the notes. He might as well be playing a small kick drum. Lisa's solo over the credits was good tho. Just Saying.

[quote name='Bilbo' timestamp='1437541900' post='2826835'] Even Ron Carter played electric for about a fortnight in the 1960s. [/quote] At the end of the sixties it seemed you couldn't give a double bass away, such was the ubiquity of the bass guitar. I remember some article hailing the BG as the most significant new instrument in jazz for the past three decades. At that time my DB fell apart and I went over to BG and it would be fifteen years before I had a DB again. Thing was, I'd started on DB and due to my early influences - notably the blessed Sam Jones - I played in front of the beat. As the BG spoke a lot quicker I found myself playing very much in front of the beat. When I went back to double bass I remember a muso saying to me, words to the effect, ' I didn't realise you were a good player because on BG we didn't think you were too hot'.

I did a jazz gig on Sunday at Blenheim Palace Orangery, gtr/dbass/drums. The guitarist threw in Stevie's Lately. I think it sounded OK and it was great to play.

No formal lessons on DB - and it shows in my left hand technique. But right from school, hanging and jamming with mates, I learned how to hear, recognise and play round all the chords. And depping for fifty years I have played all sorts, from early trad - not my favourite music - but some great tunes to discover, through the American songbook and up to bop and modal. So I have countless fellow musos to thank for the friendship, patience and most excellent on the job learning opportunities. And BC: thanks guys!

Makes sense. Thanks.

Can anyone help me with this one. I've just bought a Neutric in-line connector to connect two speaker leads together, ie to make a longer lead. One side of the two females will lock on to the incoming Speakon. Why is this necessary if the Speakons lock in anyway?

It probably wouldn't have attracted the same interest if buried in Theory and Technique.

[quote name='Bilbo' timestamp='1435931331' post='2813761'] You could, of course, play G twice followed by Gb twice. It doesn't have to be complicated [/quote] Good suggestion, Bilbo. Or even G once and Gb once. Nothing wrong with breaking a walk with some 'twos'.

Hope the gigs go well. New venues always needed and welcome, so good luck. Too far for me to travel but all news via BC welcome.

I find that very depressing and, I hope, not typical of the jazz scene. I suppose people have to get into jazz somehow but I'm not a great fan of jams anyway.

So if the after length is so important, an by all accounts it is, I wonder why DPA, Fishman, KK, etc recommend hanging mics and jacks off it.

Oh sure, me too. But there's a great story about the London pit musicians who, whenever they do a show by by a, ahem, 'well known living composer' mark up their score with the title of the original tune that the particular passage is cribbed from. I'm told the score is covered in pencil by the time the show ends.

I don't usually do jazz jams - the two most dreaded words in the language - but I played in the house rhythm section of a well-organised one last Sunday. As I walked in I heard someone say 'Oh good, a double bass'. So, go figure.

And it's not only pubs. I was at Oxford town hall in the late fifties - may have been early sixties. It seemed the whole audience started fighting each other. The very few who didn't want to join in got up onto the stage for safety. Humph, for it was he, said his band played much better when there was a fight going on.

I don't think Paloma is a male, and I'm not a fan. But fair play for a well-crafted entertaining set. And in tune.

Saw them live recently and completely agree re Zac. Bloody brilliant and not seeming to use a lot of energy either.

Surgical spirit.

You can adjust the after length by lengthening or shortening the tail wire. I've got a Kolstein adjustable tailpiece on one of my basses which makes it possible to individually adjust each string. It does make a difference but not too sure of the theory. Looking forward to BC enlightenment. And here's another one: there's a theory held by quite a few players that you can get an improvement to the E string sound by swapping over the A and E winders. Something to do with reducing the break angle on the E.

The list is no different from a Channel 4 prog populated by talking heads, failed comedians and game show hosts who haven't a clue what they're talking about. We all have our preferences for all sorts of reasons but my favourites don't have a claim above anyone else's faves.