bassace

Time to cast off then?

[quote name='CamdenRob' timestamp='1382710359' post='2255760'] Sounds fun... [/quote] Not

Yes, it's a funny old world. I'm sure you'll find new and better opportunities, but in the meantime stay cheerful. I've been sacked only once, blown out by a large female singer. It was only recently talking to a fellow muso that I realised he'd previously been sacked as well so we agreed that it was a badge of honour. Ages ago, my young brother, also a bassist, had been sacked from his young band. My mum told me she had heard him sobbing in his room. Sad, sad.

[quote name='The Dark Lord' timestamp='1382570442' post='2253942'] Well, "just saying" EBS freak that I have been setting up PAs in band for a long time. At least every other week for the last couple years. And for a long time before that. So, I guess I know what to do - so I have much more than basic skills and rudimentary knowledge. But thanks for your kind advice! [/quote] So you have more than basic skills and rudimentary knowledge, so why are you asking us for advice - or is it to let us know how amazingly wealthy you are? - How rude!

Look a few topics down, get a good recommendation for a budget system and pay them £5k. Simple.

[quote name='jakenewmanbass' timestamp='1382517260' post='2253005'] A major part of the drive of the sound of DB comes from the development of the note, so the thud of striking the string has to be up front to get the developed note into position in the beat as it were. Sounds technical but actually it just comes naturally if you want to lock in with the cymbals. Well it comes naturally to some Nothing worse than a saggy draggy feel [/quote] So true, which is why I tend to play too far in front when I go from DB to EUB.

So after 172 posts is it fair to say that jazz is not widely disliked, just by some - in fact quite a few actually like it?

[quote name='ubassman' timestamp='1382366840' post='2251250'] Maybe Coilte your experience of playing in an orchestra is very different to mine ! Form my experience as a keen jazzer and orchestral player, I can tell you theres is no "place to hide" in an orchestra. The deal is often like this ...you arrive at rehearsal , are given music score of a piece by a composer you may have never heard of (let alone the piece), you sit down and play every note and direction perfectly with precision as written. You have to get your fingerings correct, your bow articulation and changes correct and be one quality player so you don't stand out as the 'muppet' who cant play. You cant get away with Miles Davis concept that you are only half a note away from being in tune ! I love playing Jazz - but its a very different form of musicianship where you are in control of the decisions you make , what you play and how it feels. I couldnt begin to suggest that Jazzers have better musicianship than classical players ...or visa versa. [/quote] I agree to a point, but I know many jazzers who are excellent session musicians who possess the skills outlined above. And as for jazzers not making good song writers (earlier post) it would take someone special to beat Monk's Round Midnight - and of course there are a lot of others.

When mine went to the Martins for a repair they offered me a loan bass.

[quote name='Gust0o' timestamp='1382295534' post='2250328'] Absolutely. Nige, did you not get the email? I think Clarky has it nailed. I think it's part politics of identity and a perception that has developed around Jazz. It doesn't follow the musical rules; it has a perception of exclusivity, of intellectualism and manner that isn't open to everyone; and it's a feedback loop, that has begun to play back upon itself, and many us on the outside are happy to live with the parody Also, to annoy Bilbo. [/quote] But it does follow the music rules a lot of the time, otherwise I couldn't go out as a freelance and nail it.

I've been doing jazz for most of my playing career, still to good audiences, although of a certain demographic, so I don't accept that it's widely disliked. But a typical reaction often is 'I don't like jazz but I like what you play'. So the question is fair; there seem to be a lot of people who don't like jazz. and there still is quite a lot of verse, chorus, verse, chorus in jazz although a lot of that format underpins improvisation.

Ouch! So sorry for you Hector.

No need to carry a spare set of strings. (See DB section)

Too right, PK.

I think my German blonde is the same. It's a sixties instrument and has a V profile neck. It's starting to make a very nice sound but I'll have to take the string height down over the winter. Too good for a beater.

You know the small boxes that up market cheese comes in? I keep the wooden sides and they make great shims. Thin card does well for the smaller gaps a la Clarky ( actually gender fail; should it be aux Clarky?)

Go on, HJ; you know you want one.

[quote name='SevenSeas' timestamp='1381844335' post='2244437'] Interesting I did look at the Lifeline, I haven't got an adjustable bridge though. I think I went for the Copperhead as a safe option and I have heard lots of great players using it. Might be an entirely different game when I start gigging with it, I have heard quite a few people mix the sound. So the Realist to your amp and then having another microphone DPA and sending it to front of house. I haven't even looked into microphones yet... expensive and of course one step at a time. [/quote] A pickup to backline and a mic to front of house is the desirable option and you can get very good results with a DPA. Trouble is, I find that very few jazz gigs I do have a FoH option, except most festivals and some prestige stuff. Stables at Wavendon was to die for. So I've concentrated on getting optimum plug and play from my backline. I suspect quite a few rockabilly bands carry their own PA and sound and I've just joined a nice jazz/folk outfit with good sound and an ex-Tull engineer but I bet with the jazzers PA is in the minority.

I'm liking the Lifeline very much. Dead easy to fit (on an adjustable bridge) and good feedback resistance. Having been a lifelong Underwood user I had to get used to the attack on the front of the note - can come out as too much thump if not eq'd properly - and I'm still blending it with an Underwood for the louder gigs. But for the smaller, quieter stuff it's great.

Gigging? I doubt I'll be alive. Seriously though, I'm past 70 now and although I still average three a week I've got to face the possibility of stopping soon. I still play OK and knock up an awesome amount of miles up and down the country but I don't want to be 'the old guy in the band' and certainly wouldn't want to be a 90 year old curiosity.

[quote name='Dad3353' timestamp='1381426038' post='2239029'] ...or if you break a finger, eh..? Not an impossible occurrence, either. [/quote] If I broke a finger I would consider it a good enough reason for stopping the gig; a broken string is no excuse for a pro musician to stop. As long as there is a bo**ocks barrier somewhere outside Dover we should all be spared.

But you guys who don't carry spares: what exactly would you do if you did break a string? Not an impossible occurrence.