Burns-bass

That’s. lovely story. Entwistle was at the gig I saw and he was phenomenal. Power of music!

“Stop getting The Who wrong!!!”

I’ve never liked the Who, and Roger Daltry is a total bell-end. But, I was offered a ticket to see them live in Cardiff once and it was a brilliant gig. A phenomenal live band.

Yeah, lovely basses. I don’t know what’s happened but throughout the Fender range quality has improved dramatically. The modern Mex Fenders are (to me at least) every bit as good as Japanese ones.

Personally, I wouldn’t bother...

Agreed. In some jazz contexts the bass is expected to do a solo in every tune. I’m pretty rubbish on upright so I usually try and do something smooth and textural, but you need to know the jazz language to sound passable. I’d also say that the walking bass parts played on old jazz records are really solos with a huge amount of complexity - it’s just that the ensemble is still playing! Ray Brown for example is soloing constantly finding new ways to reinvent the harmony. Same as James Jamerson on Motown etc.

The Chuck Sher book is great! This one is a good primer too. This is really Useful to use alongside the Parker book (which is immense in its complexity and completeness). I was also advised that if you’re using the Parker real book to learn the solos in all keys. Seems like a lot of work to me, but it helped the player I was watching. He was immense! https://www.shermusic.com/0961470100.php

Love stories like this too. I know Apple polarise opinion, but I had a similar experience with them in store which had made me a long-term fan.

He also used to use cello music too, which he claimed gave him an orchestral feel. Which was true.

Fantastic. Geoff is a member here and I've always found his videos reassuringly simple.

More money than sense? I jest. I've always loved Sprios and never needed to change. I've got a box full of effects and a cupboard full of books however, so I feel your pain!

Totally agree! The reason the Simandl book works is that it fixes in your memory the point and pivots needed. It can be dull (although I never found it to be so) but is a much more effective way to learn than adding note markers which require you to crane your neck around and look at the fingerboard. Anyway, we've had this discussion before, and I'd say that anything that gets you playing is worth it!

I guess you do whatever works. I found the Simandl book was brilliant for improving my intonation.

I get it. Definitely check out Geoff’s lessons online. Where are you based? I’m no expert but I can pass on a few pointers if you’re near Bristol (although there are much better players on this forum from my neck of the woods!)

It’s a reference to the Simandl book which helps you navigate the fingerboard. If you’re coming from electric bass think the open strings and first 5 frets. Playing DB is often about economy of movement, minimising the shifts you need to make and playing fluently. It’s easier said than done on such a big and unwieldy instrument. If you can read music (or want to learn) the Simandl book is great for improving your knowledge of the fingerboard and building a good technique and intonation. Again, I’d thoroughly recommend working through it with a teacher if you’re interested. While you can use any technique you like, it’s best to at least attempt to follow the orthodoxy at least for a while.

Double bass is a great journey! Check out Discover Double Bass online. Geoff is a member here and the resource is brilliant! I’d thoroughly recommend getting at least a couple of lessons from a pro. If you do things wrong with your technique you could hurt yourself. Which is never good.

Good question. The SLB is a nice instrument, but incredibly expensive. I found that while it felt a bit like a double bass it sounded nothing like one. It ms useful to practice with at home but while the frame is good, it’s not as deep as a real double bass. Yamaha do apparently do an add on that will replicate most accurately the depth, but it seems a bit weird they don’t include this if you’re spending £4k. Capitalism I guess! The Eminence is a nice bass and does sound a lot more like a DB. I couldn’t get on with the weird rest that presses into your body. Personally I felt it was an inelegant solution, and it quickly got on my nerves. Im actually getting an MK bass built to my specs which accurately copies the contours of my bass. I’m hoping this will give me the perfect practice bass - something I’ve been missing. I’ll let you know how I get on!

Gong might fit the bill here. Brand X too.

Scary Pockets vids are good. Not seen any of that, so some good has come out of his indulgence I guess!

I guess so. I always see these 'scary player' videos on YouTube and it always strikes me as completely pointless. Seems this dude is pretty awesome player, so fair enough. I'm sure someone will be along to rip it up at 1756bpm, or blow my mind at 190bpm or break the internet by doing it at 212bpm.

Why bother?

I agreed with this in principle until I rewound the clock to this week in 1967... https://www.officialcharts.com/charts/singles-chart/19670809/7501/ I guess it reflects the hold of the 60s on our culture, but there are some timeless songs in there, whether you love pop, soul, psychedelia or even a bit of rock.

The constant acquisition of gear has an inverse relationship with actual playing and enjoyment. By that I mean the more time I spend buying hear the less time I spend playing. Which is bloody stupid. I’ve got the preposterous situation where I have two basses, two double basses and an EUB and three guitars. This is a drastic reduction in the amount of gear I used to have. Crazy when you write it down. I’m lucky enough to have a big house in a cheap area where I can store it all. And a wife who was warned that she would live in what might resemble a music shop for the rest of her life.