urb
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Everything posted by urb
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Dare I be vauguely controversial here and say I thinki Hejira is one of Joni's finest and quite possibly Jaco P's most complete and successful studio date ever - the empathy between the two of them is just stunning - Jaco is like a second 'voice' and the songs are some of Joni's best IMHO - I have the Both Sides Now double CD too and it is beautiful - and Mendoza is a monster (check out Brown Street by Joe Zawinul for incredible big band versions of the Weather Report stuff) - but I prefer Joni's voice on her earlier recordings. Just my thoughts on the subject. Mike
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Hey folks Just wanted to share little jazzy solo bass vid as it's been a while - I've been shedding a bit between changing my little baby Ben's nappies and working my butt off with freelance stuff - anyway it's a new version of my fave Bill Evans tune 'Very Early' - it's damn hard so I hope it doesn't sound like I'm struggling! Let me know what you think. Cheers for checking it out Mike
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I thought I had seen most techniques, but.........
urb replied to neilb's topic in Theory and Technique
yeah he'sa bit unique isn't he? Lots of YT vids of him in action: [url="http://www.youtube.com/results?search_query=Quintin+Berry&search_type="]http://www.youtube.com/results?search_quer...mp;search_type=[/url] -
This is awful news - Dave was a really serious player and had worked with the best of the best - sadly I read on a forum that he'd battled with cocaine addiction for a long time and died of a heart attack, he was 48 years old - this info came direct from his family - a tragic waste of a great talent - Dave you'll be missed - RIP bro. Mike
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Cool - right on we go then - the other thing I think helps with Matts setup is actually the single cuttaway - Vinnie said he actually started making these after Anthony Jackson and he conceived the idea of creating a way making the neck more rigid - I love the way it makes the top (high) end of my neck feel. Re Matt's sound - this is something I've considered a great deal over the years I've listened to him - personally I think he actually has a softer tone that most bassists because he actually uses thinner frets and can get some of the burr of the fretboard coming into his tone - as he's said in the past he wants to get a bit of 'fretless' tone in there as well. If you listen to some of his solos on his albums - or that great one on the Meshell tune 'Papillion' - he gets a beautiful woody tone, that is like a bouncy fretless tone. He also uses a lot of slurs, small pull offs and the odd slide to really mix up his phrasing. The sound he went for on the Charlie Wright's gig was a lot harsher - far more in your face - but then he was playing like a lead guitarist some of the time! I think the sound he gets on 'Dolphin Dance' on the Herbie DVD is more like his 'fretless' aproach - it's a beautful tone. Which leads me on to the whole 'unique' voice thing - there are IMO many bassists (and musicians in general) who are instantly recognisable - Matt is one of them - but as I've said elsewhere - give the likes of Vic Wooten of Matt G a different bass from the one they normally use and they will still sound like themselves. This is because much of their sound is created through specific ways of picking, their note choices, their phrasing, timing etc etc etc - it is, at the end of the day, all in your fingers. Spend enough time developing your own vocabulary and sound - and you will sound like you too! M
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Just to chuck my tupence worth on this - I think it's all a combination of yes a great Fodera neck, they leave the necks on the shelf for 18 months to dry and set before they use them - I was lucky enough to go to Fodera with Matt and I've seen the wood store - truly mind blowing! I have a hipshot D-tuner on my Thumb bass but because I added it myself - and not during the build process (which you could on a custum bass) the tuner could not go below a low C# - but the strong maintain enough tension to sound thick and solid in tone. I guess with Matt's super fine tuned set up a low B is cool. Re my Sei bass - I just had Martin tweak the set up as I was getting a little buzz on one fret (the 23rd on the G string) he actually raised the action a tiny bit and fine adjusted it across all the strings and now it plays soooooo great! He's going to gently polish the frets with some wire wool when I can leave the bass with him for a few days and that should make it even slicker - 6stringbassst it might be an idea for you to pop your bass back to the Gallery for a fine tune as well - new basses do take a while to 'settle' - I'm sure you can get it playing EVEN better... Cheers Mike
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[quote name='6stringbassist' post='223324' date='Jun 20 2008, 11:04 PM']He's a fantastic builder, I'm still at the stage with mine, where I'm still experimenting with it, and discovering all these wonderful tones and vibes. Some basses are 'one trick ponies', for want of a better description, they perhaps do one thing well, that's not the case with my Sei, it does many things. I've used it in a metal/rock band that I play with occassionaly, and I've used it loads in various jazz settings, it responds to your needs. I like art and obviously music, Sei basses are a great combination of a both, a beautifuly crafted peice of art, and a fantastic musical instrument with wonderful sounds.[/quote] +1 - Damn right - my bass is the same - so good for many, many things - the sheer variety yet consistancy of tones you can achieve is really something. Also my little bit of Sei news is that I am in the early stages of planning my next Sei - which will be a killer Jazz style Sei - a four string too - I'm still getting the financial side of it together but Martin and I discussed some options - I'll obviously keep you all posted but as ever I think it'll be something a little bit special - but then all Seis are a bit special... Mike
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Hey Red Really excited about seeing the finished result - I have no doubt your bass should/will be amazing. And just so people don't think Martin doesn't make many basses simply because their owners don't all post here - here are a few recent examples of basses that have been completed in the last mont or two, some seriously stunning work me thinks: And there are at least 6 others in late stage builds - I saw a lovely single cut with Thuya burr facings and with a similar wod combo to mine the other day - all good! Just keeping the Sei vibe alive on this forum... Keep us posted Red - can't wait to see the end result - as I'm sure can't either - it's so worth the wait, hang in there man. Mike
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[quote name='bubinga5' post='220527' date='Jun 17 2008, 12:33 PM']"I couldn't care less about not being able to slap" Maybe you should, learning things that you dont usually do, or dont want to do, some times opens up different avenue's in your playing that you wouldnt expect...Play as many different styles as you can..Mikey may have been correct in saying that you may be sh*t hot, but you cant see it.. Do you know, or can you watch any other players who have been playing the same amount of time as you?? At the end of the day i wouldnt get too worried about how many different techniques you can pull off because a band you admire are doing them...some of the best bass players i know dont know dont know any techniques..slap tapping, nowt. there just very musical..and that came from listening and being patient.... I know how you feel, i been there. Try different musical styles and approaches. And also get a good teacher.(i think this is really important) They will help structure everything, so your learning will improve and grow!! Good luck!![/quote] +1 - learn to play great with just two fingers and you'll be 99% of the way there - the times I've 'tapped' on a gig are almost exactly nil... I still like to slap a bit in the right context - and use the ole 4 finger plucking (sparingly) but it's index-middle, index-middle most of the time... that's what will pay the bills anyway. M
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I know this is an old debate about having 'fret' lines on your fretless neck or not - personally I have them because I want the added benefit of being able to visually correct my intonation as well as hear it - but if you work really hard on staying in tune (by playing against a pitched note or chord) you will eventually be doing it effortlessly. The short answer to your question in terms of looking away from the fretless neck is that it will take some time before you can do this with some confidence. Even master players like Gary Willis say he can only do it after over a decade of playing fretless, and even then he's quite happy to look at the fretboard - there's nothing wrong with looking at it! The main point is whether you can engage with other musicians, pay attention to the drummer, follow the chord changes etc, and do it confidently and stay in tune! Even though I have lines on the neck of my fretless they are quite faint, so I rely more on the dots on the finger board as reference points. But I have also developed my muscle memory (like Alun says) so that I know what the stretch for a minor or major third feels like, or how to accurately playing chromatically in all sorts of positions on the neck. But I also spent every minute I am playing fretless, listening to the music I am playing - listening to whether I am in tune or not. You can practice this by laying down a chord on a keyboard or a loop pedal and just playing arpeggios or scales over it - all the time listening to how each note in the scale or arpeggio harmonises with the sustained chord. It's one thing to play unison lines and stay in tune, but to stay in pitch across a whole key center is also important. It basically takes time and patience - but if you stick at it -lines or not - you'll get it. I have been complimented on my pitching from various people I've played with, some even saying they didn't realise my bass was fretless - so it's really the biggest challenge with fretless - and well worth the effort. Hope all that helps - apologies for banging on - bit rambly after a long day! Mike
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+1 on Effortless Mastery - it's a great book. I think one way of getting through 'blockages' like this is to see a good teacher - while they won't fix things overnight they will hopefully, be helpful in identifying your strengths and weaknesses - I'm sure you have some positive aspects happening in your playing too, in spite of your obvious frustrations. The way I progressed, especially in the last few years is by balancing technical skills against musical ones - so I worked on my ear, alongside my chord knowledge, I also found recording myself a lot and listening back really helped to highlight what was working and what wasn't in my playing. Also what you might deem your technique - as in finger picking, scales etc - can undoubtedly be improved further, if you are brave enough to unpick what you already know and re-learn it, you will be a better player for it after. I know it sounds awful to consider, but I've done this a few times over the years, like learning new scale fingerings, and cleaning up my picking technique, and strengthening my time feel, rhythmic knowledge has all helped me become a stronger bass player. But find a good teacher, take a couple of lessons, but most importantly, become more self-aware as an individual, then you can more effectively teach your self. And lastly, get with some good musicians and just PLAY... you'll learn a lot of subconscious stuff that is just as valuable as all that home study will ever teach you. Mike
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[quote name='mcgraham' post='218310' date='Jun 13 2008, 01:57 PM']I've always admired that Thumb Mike, I never realised you'd owned it for that length of time. Some real mojo there. Mark[/quote] Hey Mark - yes it's definietely got a real personality all of its own - I've never played a Thumb like it, and I've played a lot of other Thumb NTs over the years. I still love it, but it's time to move on - it's so different to my other two basses (that I use more) so it's time to let her go - I don't want to, but neither do I want it sitting in the corner as some kind of beautiful object that takes up valuable space in my flat. My plan now is to get a real killer 4 string Jazz - it might take me a while - but that's my new bass project! I just hope the Thumb goes to a good home...soon! Cheers Mike -
Hey Johnny - good to see you here bro. For those who have yet to meet you I just want to say he's a top fella (and bass playing demon) so don't be shy have a listen to his podcast, it's very well put together with some cool, informative and entertaining words of wisdom - and some very tasty bass playing too. Hope to catch up with you soon man - Brixton jamming soon for sure! Cheers Mike
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Small bump to say this bass is now at The Gallery and Alex will be selling it for me - it's a great Warwick made when they were really special basses... Thanks again for looking Mike
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[quote name='rjb' post='215939' date='Jun 10 2008, 09:51 AM']Mmmm. Tempted. Is the ramp thing removable, then? It doesn't appear on all the pics.[/quote] Yes it can be taken off - but I'd get that done before you bought it - that's if you were interested in it Cheers Mike
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Little bump for this at a slightly reduced price - thanks for looking Mike
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[quote name='bassjamm' post='214094' date='Jun 6 2008, 08:59 PM']Are there any clips out there or vids of what to expect? Trying to convince my Dad to come...he loved the Janek gig last year at the 606...oh, and what's the venue like and expected kick off time? Got a 2 hour journey each way...but wahey! Bring on the noise![/quote] Matt G's set will be a bit like this stuff as it has Scott Kinsey in the band - and the drummer is stupid bad (amazing) Horatio Hernandez - so a mix between the latino jazz stuff and weather report style elctronics [url="http://www.youtube.com/watch?v=7rdLaxaa3PI"]http://www.youtube.com/watch?v=7rdLaxaa3PI[/url] [url="http://www.youtube.com/watch?v=SEEFYo8wx_s&feature=related"]http://www.youtube.com/watch?v=SEEFYo8wx_s...feature=related[/url] Ticket details here: [url="http://www.myspace.com/charliewrights"]http://www.myspace.com/charliewrights[/url] They are doing two sets per night - so the first one should be done by 10.30 or 11pm
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[quote name='bnt' post='213998' date='Jun 6 2008, 05:57 PM']Did any of you guys check the instructors list? It's not just VW; Steve Bailey, Adam Nitti and Chuck Rainey will be there too. Dunno how much can be accomplished in three* days, considering attendees will be [i]building[/i] their own accommodation... * edit: I see they mention 6-day camps too, but the upcoming one is 3 days.[/quote] I think the majority of camps they have run so far are for 6 days - I personally wouldn't consider going all that way just for three days, especially if you only go once you'd want to make it worthwhile! M
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[quote name='dood' post='214012' date='Jun 6 2008, 06:27 PM']This is my favourite lesson so far:- [/quote] Damn that was good - ROTFL- um, it's actually a great example of how unmusical scales sound played at ridiculously fast tempos - timing, feel and phrasing are the keys to actually being a great player as much as finger dexterity is part of an overall skill set - regular practice will help you achieve a all your goals in terms of getting more flexibility into you hands. Cheers for posting that Dood m
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hey guys - just give this a little bump - as it's been a mad few weeks for amazing bass players visiting London - Richard Bona over in March, Tony Grey and Stanley Clarke in town May but... I saw Dominigue DiPiazza last weekend playing in place of Hadrien Feraud with John McLaughlin - it was simply incredible - I've seen Dom play before but not with a full band on a slamming gig- he was amazing. I was lucky to hang with him afterwards and he's a lovely guy - he said this is first time he's had callouses on his fingers from playing in many years - that's cos it was loud! Dom is playing his best ever I think - a truly awesome player. Anyway Matt will be amazing tomorrow - and yes Victor is though in just under a month - and JEFF BERLIN is at Ronnie Scott's next week Mon - Wed with Larry Coryell and Paul Wertigo in a trio. Let them come to you is my philosophy... Victor will be great at the Jazz Cafe - and Stanley is back with Return To Forever in late July.... Yay!
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Thanks guys - I'll be posting this 'for sale' over the weekend - when I get a minute! I'm open to offers now though. Cheers Mike
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[quote name='warwickhunt' post='212385' date='Jun 4 2008, 11:36 AM']That looks like it has been well cared for and waxed regularly as it has a nice patina.[/quote] It's been waxed every month since I bought it - 18 years ago - I have the original receipt still as well! I've really looked after this bass despite the few dings it has... Re the ramp - it helps you play lighter and more consistently with your finger style - or at least I think it does. Cheers Mike
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[b]This bass is now on sale at The Gallery in Camden - drop in and have a go! They will be handling this sale for me now. I ran it through a Mark Bass tube stack yesterday and the Schack just makes this bass have a monster tone... it's still in great condition considering its age and will retain its value in years to come.[/b] It’s still a great bass but it has been used – a lot – however it is an original with features that distinguish the early Warick’s as completely different basses from those made today: [b]26 frets, a wenge fingerboard with mother of pearl dots, stunning flame Bubinga body and a 7 piece through neck made from the same two woods. [/b] [b] I have modded it a bit, so it has a sweepable 3 band Schack EQ installed – which gives it a load more power – a Hip Shot de-tuner for drop-D/C, and an ebony ramp that was custom fitted. It still has its original MEC pups on it and I’ve never had any problems with them.[/b] It had a complete re-fret at the Gallery about two years ago so it plays beautifully, and the detail in the fingerboard really pops out, plus the dots are even brighter as a result. In terms of overall condition for a bass that is now 18 years old it has sustained a few dings but the body wood has been waxed at least once a month since the day I bought it. So if you are looking for a mint bass this isn’t it, but it does have a ton of character and is all the better for it. And it has a very full, warm, growly tone that is helped even further by the Schack EQ [b]- which gives it about TWICE the siganl power of a normal Warwick.[/b] I can’t really tell you any more – it’s a bit of a classic bass and has served me extremely well – I don’t want to sell it for any other reason than I’ve moved on and would like to see it go to someone who will use it well and enjoy it as much as I have. I’m not selling it with a case so I’d prefer it if the buyer could collect it – I live near Brixton in south London - though I’d be happy to sort out P&P should it be necessary. these pics below were taken about three years ago on a very sunny day – this is how extremely the Bubinga can look! Thanks for looking Cheers Mike
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[quote name='sshorepunk' post='209524' date='May 30 2008, 11:45 AM']Just about to hit the weekend BUMP T[/quote] Damn man - if only it were a 4 - I'm looking for a 4 banger Jazz bass - a Sei jazz would be great! This bass looks awesome - a happy bunny this would someone make... so sayeth Yoda. M -
[quote name='rmorris' post='209829' date='May 30 2008, 07:51 PM']So is the 'problem' with the Sei that the signal level straight from the bass is simply low but sounds fine tonally or does it sound tonally unbalanced to your ears - not enough low frequencies ?[/quote] It sounds great - it just needs a boost volume-wise - and so does my fretless 5 which has an EMG pre in it - so it's not just the Sei - it also might be something to do with the Mackie Onyx Bsse station - when you crank the gain hyou just get loads of extra noise - not so when I use the SWR... M
