Burns-bass

Agreed this. Don’t use a sock to mute the bridge but a bit of old foam. It’s what the pros do!

I had the same. People will laugh me out of the forum when I say that the Mexican standard jazz I picked up earlier this year sounds and plays better than every other vintage bass I’ve ever owned aside from a totally original 64 I sold on here (which was incredible on every way) and the 66 I still own. I’ve never lost money on any bass to date, but the time I spent messing around with dusty old Fenders could have been much better spent!

That was exactly my set up too... TNT130

I had to cancel a jam session and a jazz band practice this week because both of my kids have diarrhoea. Didn’t really feel the need to give them the details but I’m sure they’ll think I’m just as useless and unreliable.

The difficulty comes when you try to learn how to read music after playing bass for a period. You're trying to impose a framework onto something that you've already learned. It's difficult - but not impossible. I think reading music is a fundamental skill that musicians can benefit from, but it's obviously not essential - particularly given the incredible music that's been written and recorded by musicians who can't read music.

I meant when I started. Now I can afford boutique basses and all that, but I knew no better. It was a revelation when I picked up an Aria Pro II The Cat Bass. Loved that thing.

Ok, update... Set it up with a set of Helicore Hybrids and it feels great. They’re pretty high-tension, which is nice. The frame is fantastic and the full-size bridge makes it really feel like a DB with the correct string spacing which I’ve always found a challenge on other stick basses. The resonant board makes it sound like a double bass. It lacks the genuine warmth of a full sized beast, but that’s to be expected. Is it the best EUB I’ve ever used? I’d say it most definitely is. Its probably not as well made as the Yamaha, which is factory assembled, but it’s a lovely artisan product that I’m sure will be enjoyed by me for a long time. I bought mine without seeing one or playing one, but based on the reviews and views of players (mostly American). I’d say it’s definitely worth it.

Crikey. That’s a bold claim! Having a terrible, heavy bass with a thin sound and poor set up never stopped me playing. I went to a jam session this week and there was an Axl jazz Bass there which was equally poor, but that didn’t stop a steady stream of players (good and bad) having a crack.

I’d hazard a guess that this is 10 times better than the Kay P-bass I paid £25 for in 1997. Adjusting for inflation I’d hazard that’s about the same price, but an awful lot better bass...

This is the most un-rock and roll thing I’ve ever read. I’m sure it’s a great gig though!

The wonderful thing about children is that they’re unique. You’ll find your way! My kids don’t have much time for bass, but they love acoustic guitar. It might sound like the Waltons, but being able to strum a few chords and play a few songs or nursery rhymes is wonderful. Both of my daughters (3 and 1) love the guitar and we’ve got 3 around the house. Congratulations too!

That’s good to hear. Today I had a jazz model turn up. The package was something - taller than me! Was that the one on Reverb? I nearly bought it if it was. I’ve unpacked it all and given it a once over and it’s a nicely made piece of kit. Like many artisan products it’s not as gloriously uniform as a Yamaha for instance, but it has more personality. I needed something to practice on at home and use for gigs and this is a much better feeling and sounding instrument than the SLB I had. Ive not had a chance to play it properly through an amp but I’m assuming the Fishman will come out. I know some people have fitted David Gage pickups so that’s an option. Personally, it’s the closest EUB To a double bass that I’ve ever used. The neck is chunky and the sides almost identical to the contours on my DB. Time will tell how durable it is and how good it sounds at gigs, but I’m happy with it so far.

I'd recommend the Aguilar stuff. Given the guys in the 70s would all have been using valves, you could look into a valve pedal. When I was playing a lot of 70s rock stuff (festivals, tours with a few of the names...) I used to use a Sansamp Bass Driver DI which was a great piece of kit. I also had a DHA too which was great.

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.