bassace

To be pedantic, you don't usually get bassists playing together unless it's in a classical context when it's a section. Otherwise just bassists together I suppose it's a winge (BG) and a support (DB). Runs for the door. Ps, just a thought, Barristers have a Chambers, so why not DB players?

[quote name='Lowender' timestamp='1359488703' post='1955604'] Eddie is great, but I find his intonation in the upper register a little sketchy at times. Now Scott LaFaro..... [/quote] Interesting that during the fifties/sixties we grew up at school as modernists and wouldn't have anything to do with that old fashioned stuff that King Oliver and Jelly Roll Morton turned out. That was stuff from 45 years back. And now we revere Bill Evans, rightly so, from..............45 years back, and Miles and........ So, what's trad and what's trad? As well as the timeless music you also have to factor in improved recording techniques and, whisper it softly, the drastic levelling off in jazz's development and popularity. The sixties/seventies were certainly the golden age for jazz - IMO of course.

[quote name='geoffbyrne' timestamp='1359626834' post='1957679'] I'm a wee bit older, & my guilty pleasure would be Elkie Brooks. Saw her live in Barnstaple a few years ago & she was exceptional. (I might get to pluck her later........ ) G. [/quote] I played support when she gigged at Oxford Town Hall as 17yr old Elaine Mansfield. Never forgotten.

The Count Basie Band from 1960.

It's a miracle that I'm any good at bass - which I am, actually - because I have the attention span of a gnat. But with a lot more effort and concentration I would love to have been a keyboard player. Probably jazz piano but power chords in a prog group would also be great. Probably a cross between Oscar Peterson and Tony Banks. Is it too late, Lord?

Enjoy your gig. Don't let us confuse you too much!

There's a lot of good stuff here. I like a Wizzy 10" for small gigs but with this size I don't like to have the cab mounted on anything to give it extra height. Although a cab in this position can be easier for the player to hear, I prefer the cab where the floor coupling can give a better amount of fullness. A bit too much bass (rare IME with a ten) can be HPF'd or EQ'd out.

There is a lot of good sense there - sorry, not meant to sound at all patronising! In my early days I did a lot of gigs on my 'bought new' bass I thought I was doing well. But from time to time I would sit-in on someone else's double bass. Very few of them looked any better than mine but almost without exception they were easier to play. Of course, it was the setup - which supports the advice to get a second hand bass from a good home. I'm a lot wiser and considerably older now. That's a pity, the 'old' bit.

First port of call is a high pass filter (or low cut, same thing). You can find this on some amps, the AI Clarus has one. But if you can find one the FDeck HPF will sort out your problem. I'm sure other BCers will have some ideas. PS, further thought, moving the soundpost by someone who knows will also help.

I had a Meinel as my only bass for approx 15 years, originally from Footes. I sold it to a BCer three years ago for £1600. Although it doesn't have the complexity of, say, a Bryant it's got a lot of projection and clarity. I used to get many compliments. I rather regret having sold mine so I can certainly recommend an inspection. Meinels are very well constructed.

[quote name='gjones' timestamp='1358449546' post='1939487'] 'You're only as good as your drummer' - Me [/quote] 'You're only as good as the musicians you are playing with' - Me 'I told you to bring it, not play it' - put-down to a sitter-in.

Don't like it! It has no soul, just a guy singing a song.