bassace

I hope this link works, it shows MK's bass player's twin Ampeg rig. The tour diary posted by keyboard player Guy Fletcher is worth seeing. They have just done the States and have come home. Although the glory days of the Straits have passed by the guys still manage to do it in style, although to smaller audiences. I am interested in Guy's progress - ex Cockney Rebel, ex Roxy, ex Straits - I last 'met' him at Butlins Minehead when he was 2 years old. I was there with his dad's band and he naturally came to. Dad is Ted Fletcher who is the compressor guru amongst other things. Bloody good guitarist too. [url="http://www.guyfletcher.co.uk/index.php/getluckytour2010/30th_May_-_4th_June_-_London_-_RAH"]http://www.guyfletcher.co.uk/index.php/get..._-_London_-_RAH[/url]

[quote name='OldGit' post='853244' date='Jun 1 2010, 08:34 AM']Sometimes I do have a "oh no!" moment when a really nice gig comes in that I can't do due to a dep booking but that's just how it goes...[/quote] Interesting, that. I've got an 'oh no!' moment this Sunday. We're playing in darkest Essex in the evening and a nice gig came up for me at Bisham Abbey mid day. So I could do this one on the way to the evening gig. Trouble is I'm giving a lift to the sax player from my house at 4 o clock. Yes, I could dash back home after Bisham but I won't have got home the evening before until 5.00 am from Weatherby. And I'm nearly 70 for crissake. So on this occasion common sense has kicked in - still doesn't do that very often.

[quote name='OldGit' post='852427' date='May 31 2010, 10:53 AM']How so?[/quote] First in the diary won't work for me because I have agreed to give priority to two bands. We do a lot of gigs, we record and we even rehearse sometimes. That means the bands need to go out with their regular lineup wherever possible. As I originally posted, these bands book well ahead so clashes are usually avoided. But when I accept a booking with another band well in advance of the gig I tell the guy that I'll take it assuming nothing comes up from bands A and B in the meantime. They're usually cool about this. Some bands have an '8 week' rule. I've just finished my 2009/10 accounts and see that I worked for 15 bands last year so it seems to work OK. If you're a total freelance, first in the diary is fine.

I have regular comittments with four bands. Two of them book so far ahead that I don't find a problem - we're well into 2011 already. The other two know that the main bands have 'first call' status. When there is a clashing problem - surprisingly rare - they put a dep in. It seems to work well. In answer to the question, be open and transparent. If you can have a first call arrangement so much the better. First in the diary can lead to chaos IMO.

[quote name='jakesbass' post='849505' date='May 27 2010, 03:53 PM']In some of the circles I have worked in, the words 'he's a lovely guy' is one of the most damning condemnations of a persons' musical abilities that can be uttered. [/quote] Second to that is 'he doesn't get in the way'. I've heard this uttered as a compliment!

[quote name='steve' post='849142' date='May 27 2010, 08:34 AM']bring back the Old Grey Whistle Test [/quote] And Jazz 625

Try some nice walking lines. Start with a 12 bar blues - look at the Major's Boot Camp in the Theory posts. Vary the lines you take and you will get a nice feel. Play in Bb, F, Eb and C - you will see how easy it all falls to hand. Much easier that the sharp keys - G,D,A,E in my opinion. Then find the chords for 'All the things you are' by Jerome Kern ( Musos tend to call it 'All the Chords There Are') for a real walking work out. Use a metronome. See Jakesbass for lessons. Keep at it and enjoy!

[quote name='endorka' post='836785' date='May 14 2010, 04:27 AM']It would certainly help for the really serious stuff, but you can do a lot with normal tools. Off the top of my head, things I've done are; Saddle repair Nut filing Cut the bridge properly and adjusted string spacing Fitted bridge height adjuster wheels Soundpost adjustment Open seam repair Steel endpin replaced with carbon fibre Afterlength tuning Removal of varnish from back of neck There are probably more but my brain is hurting! It's all good stuff and there is a lot of potential for tweaking many factors on a double bass to get the optimum sound. Jennifer[/quote] And I bet you can do car maintenance and household plumbing too! Good on yer.

I have the greatest respect for any guy who does session work - of any genre.

Just as a post script to the volume thing, I was playing a freebie outside Hook Norton library this morning. With a fiddle player and guitarist, each of them going through a Headway acoustic amp. Started with a nice balance, we all heard each other - then the bloody bells started up next door. Turned out it was a visiting team and they were booked for three hours. Grrrrr

[quote name='mrcrow' post='837384' date='May 14 2010, 04:51 PM']kenny ball chas mcdevitt aker bilk ted heath johnny dankworth 'hump' chris barber monty sunshine..petit fleur oldies[/quote] Bit dodgy, some of these?

[quote name='gcordez' post='837086' date='May 14 2010, 12:50 PM']Im only selling it to pay for ££££ Schoeps mic....[/quote] That Larry Grenadier's got a lot to answer for!

Some amps provide phantom power - my Clarus does. But if you go through backline you are running a high risk of feedback. I have a DPA 4099 and find that if I use a Headway preamp (which also provides PP) it cuts the feedback down to a workable level. Mic to FOH is the ideal though. Headway is approx £200 and I doubt whether you'll find one in the 'for sales' they are that good.

[quote name='Greydad' post='836852' date='May 14 2010, 08:52 AM']With just guitar and drums you shouldn't have any problem being heard un-amplified. FWIW if the guitarist is playing an acoustic and the drummer uses say just a snare and kick (or just a snare! which we've done) and PLAYS USING BRUSHES if necessary you should be fine. I've manage to hold my own with two guitars, mando, dobro and various other instruments without too much of a problem. Drumming with brushes is the way to do it as far as I'm concerned it sounds cool and is just the right volume and feel for an acoustic band.[/quote] Sorry to disagree but (is it just me?) I have an aversion to brushes. They don't give the crispness that sticks give, they seem to mask my playing and I never have a problem cutting through stick playing. Playing against brushes is like playing through porridge.

If you're outside, you may be pleasantly surprised how well a DB carries without an amp. Give it a try, I've done it quite successfully. A good set of pizz strings will help. EP should be fine, or Spirocore Mittels.

Unless you are playing with a quiet trio in an 'intimate' environment you will need to be amplified. Drummers are OK as long as they don't insist on whacking the kick drum two or four beats to the bar. It should be used for accents - IMO and in jazz. Keyboards are a real problem; they are capable of creating a wall of sound over the bass. Jazz guitarists can also be a problem if they insist on using fat chords over all six strings. Then there are monitors. I play in a band that has a monitor facing me and the keyboard player turned up so loud that I can't hear myself and the guy in front says I'm too loud! If you are using backline you need a good set up that gives you a strong middle. There are some who will criticise the piezo pickup but you will find it very effective in this regard. You will also be heard if you have a DI to front of house but the bands I work with seem reluctant to put the bass through this. I've even had professional(?) sound guys telling me 'we don't put the bass through the PA'. I often ask someone in the audience about half-way back how the bass is sounding. Sometimes I get a surprise! Hope this helps.

Speaking as an oldie, it's nice to see Tubby Hayes's contribution acknowledged. My very young band did a gig opposite his quartet at Oxford Town Hall in the very early sixties. His image had been that of a bruiser but he was so kind to us on the gig. He was taken from us at such a relatively young age. Still going back, the back catalogue of Johnny Dankworth is worth a revisit. His big band stuff was world class.

Chris sold me an Underwood pickup. All very easy and no hassle. Deal with confidence.

Yes, mine is, but that's a few decades later.

Go to Thwaites? You're following a fine tradition, eg my brother sold his EBO in '66 to buy an engagement ring. Enjoy your marriage and then later think about another DB.

I know that most of you guys play rock so I defer to your opinions. From a jazz point of view, to me it's always the hi-hat or the ride cymbal. The kick drum hasn't been the driver in jazz for the last 50 years or so. As a DB player, the less of kick drum the better IMO.

Oh, go on then. PM'd

Makes any double bass pickup sound great. It's in the Effects For Sale section. [url="http://basschat.co.uk/index.php?showtopic=86345"]http://basschat.co.uk/index.php?showtopic=86345[/url]