Burns-bass

Nonsense. You don’t need to practice that much, in fact studies have shown that about 2 hours per day is about the optimum, beyond that it’s not really helping you much. (There are obviously going to be exceptions to that, Coltrane for one!) But yes, it’s just practice and more practice.

Saw the trailer, looks good - lots of tasty shots of Aguilar gear. I can’t see there will be much here beyond the visualisation stuff he outlines in his frankly brilliant Fingerboard harmony book. The irony of this is that often these guys learn their chops relentlessly gigging, comping theory as they progress. Ultimately, my view is that learning is better whenjoy if playing an instrument with people than technical mastery. The stuff Gary Willis plays is interesting but it’s hardly accessible and to most, probably quite unenjoyable. Good luck to Scott. His whole demeanour and attitude is a show for the camera I’m sure. It’s his job to relentlessly hype his product. As for Gary, I assume a one off payment would replace the royalties book he might write for instance, so it’s likely he’s charging more than £70 per hour...

I’ve never seen the Blockheads but I’d love to. I must admit I’d never heard of Johnson before the gig (I was only 21), but was totally blow away. He used our Hiwatt rigs and just blew everyone away. They were thoroughly lovely guys and I wish I’d had more time to chat with them now.

That’s the one! Apparently Norman would have handed it over to you too. I’ve actually met Norman (shared a bill with Wilco Johnson) and he was a lovely chap. Funny smell coming from one of his cigarettes mind you...

I nearly bought it, but couldn’t agree a price...

Yeah I know Greg (I’ve had lessons with him and they were brilliant) but he’s Bath isn’t he? The person who asked has no car so looking for Bristol.

I bought a brand New Mexican jazz bass from (I think) Richtone Music which is absolutely brilliant. In my opinion it’s a step up in class from the old Mex Fenders and plays and sounds great. It knocks spots off my old Sire too and probably has better resale value too. It’s not perfect - the tuners will need upgrading and the bridge too possibly, but it’s perfect for my needs at the moment for a great looking and sounding giggable bass that I’m not afraid to take outside of the house.

Hi all, been asked for recommendations - anyone got any?

That video is everything that bass shouldn’t be. My wife thought I’d dropped some pans in the kitchen all that clanking!

The biggest rookie error (I certainly did it) was staring at the side of the fingerboard to check intonation. It fundamentally alters the position of your arm, so that when you then look forward at the crowd or sheet music, your intonation goes out again. What helped me was working though drones to get my intonation and then using arpeggios in ii V I s in all 12 keys to help me shift position. StilL working on it.

Cut old credit cards and plastic into picks. https://www.amazon.co.uk/Pickmaster-Plectrum-Punch-Make-Your-Picks/dp/B004SHGBDG

Absolutely. The last gig I saw he was playing electric bass. On my first lesson with him he very generously let me play his Martin Penning bass. It sounded incredible. I therefore assumed it was the instrument that made him sound great, before he started plucking my battered old Czech bass and I realised it was the other way around. Very reasonable price for a lesson and nice and relaxed and informal too.

Good advice. If you’re interested in jazz I had some lessons with the outstanding Greg Cordez who is a member here. Lovely bloke, brilliant teacher and formidable musician. I’m hoping to woodshed as much as I can then get some lessons when my technique is better.

That’s a really interesting point. My job demands quite detailed mental focus, so I can remain engaged for quite a long time - but I take your point. Personally I think 2 or 3 shorter sessions would be better, but I don’t have that freedom sadly.

Good point. I’ve got a reasonable hand strength but I understand it can be a strain and will never do anything that would jeopardise my health.

After a lay off of a year or two I’ve now got some time - and more importantly the space - to play DB. Aiming to do about an hour a day, with my focus on getting up to speed to play jazz. My practice is based on what I used to recommend to young students. (Just finished my hour now, hence the questions!) 15 minutes of scales and arpeggios through all 12 keys 15 minutes of reading practice. I use some jazz books that I own (currently the Ray Brown book and the Evolving Bassist) 15 minutes working on a track (Anthropology at the moment - but at about 100bpm) 15 minutes playing along with some tracks (John Martyn, Gregory Porter, whatever takes my fancy!) I hold no aspirations to be a pro, but I do practice with a couple of bands. Ideally I’ll be out playing a few jazz gigs within a year, but that may be fanciful. Does this sound reasonable? Am I missing anything specific to DB? Once I get a bit of confidence back I’ll start refular lessons again.

iPad stuff has been reserved. Will be adding more tomorrow...

I know they're unfashionable, but my Dacia Duster is brilliant and will fit in pretty much everything.

It is! Mark and his dad are still there. They’re no longer Fender dealers and more guitars than bass but still a great and very friendly little shop.

This is exactly the same process I went through. The only one I kept is a 66 jazz bass that I'd owned for 12 years and used on recordings and tours. That's under the bed in its case loved, but unused. The bass I use the most now (and absolutely love) is a Mexican jazz I got in the Richtone sale for less than £400. It's beautiful, cheap and always makes me smile.