Burns-bass

The only rule is playing what the music demands. If you can make it work musically, the play anywhere and everywhere. If your playing affects the band, and stifles the groove, then tone it down. It's about being a conscious player and it comes naturally to some and needs to be learned by others. I'm in the second camp here...

Thanks guys. After the advice I've decided to save the cash and concentrate on the DB. I've now worked out a bit of time everyday to spend (30 minutes) on the stuff I need to concentrate on (scales and technique) and I can do a lot of the theory off the bass or on an electric. If I get the urge I can finally fix my 60s Burns upright (which is in a few bits at the moment and never really worked). I guess I was trying to compensate for being at home by purchasing a new toy, but it seems there's no need.

It's frightening isn't it? After a rocky start things are going well and she's already 2 months. Bonkers! I've even learned how to play some jazz-style renditions on DB. She seems to like it!

Thanks for the advice and the support. Having the new baby means spending huge amounts of time indoors at home, and I finally caught the DB bug after some lessons, and just don't want to lose the momentum. But obviously I love being a dad and spending loads of time with the baby too! I just thought of there was some way to practice a bit at night that would work, but as you say, it's not forever. Plus I'm not sure how popular I would be bringing a new instrument into the house!

The exact problem is I get home from work at 6 by which time the baby is asleep and wife doesn't want her woken up. I work for myself so I can create a situation where I'm able to do an hours focused practice at some point during the day, it's just I often enjoy a glass of wine and a play in the evening. An EUB does seem like an indulgence, so I'll take your advice and look into a strong mute. £15 is hardly likely to ruin me.

I'm trying to practice DB and have a wonderful and resonant old beast on my music room (I'm lucky enough to have one, for how long I'm not sure). Anyway, my new baby is making practice difficult. I've just seen an NS NXT 4 with all the add ons for sale. I'm still very much in the formative stages for my technique and am making good progress. Should I play less but fo is solely on DB (theory j can work at on the electric) or should I invest in an EUB? Apologies if this has been asked before, I searched but it was mostly asked by beginners which I guess I'm not.

It may function wonderfully but that guitar is damn ugly.

Martin Penning is a genius luthier and a thoroughly lovely man. What he did to my cheap and cheerful DB was incredible.

Yeah, unless its an agreed valuation policy the amount you insure it for is just a guide. That reminds me I need to phone up my company in a little while and add a couple of new basses and guitars I'd forgotten to add!

I had the whole kit (controller and synth unit). I actually sold it to the legend that is Phil Oakey of Human League fame who then used it on tour. If anyone wants Phil's autograph he attached with the cheque for the item, just send me a PM. To day, nobody has ever thought it worthwhile. I like the Human League though.

I'd buy an early 70s Jazz and mod it (but keep the original bits!) I'd swap out the stock pickups for a different set. Bare Knuckle are good. Then you've got a lovely old bass that will hold its value.

Hmm, tough one! I always wanted a certain type of sound, so that was what I searched for. What sort of music are you looking to play?

Honest playwear is fine. I used to tour (full flight case) my 60s Fenders and a bash here and there wasn't a problem. It's sort of natural to some extent, particularly as I'm very clumsy. But purposefully basing up a guitar is a bit silly really. It just looks fake and is easy to spot.

You have to figure out where you want to compromise the least. For me it was always the neck. I need something thin, fast and played in. I always hated new basses. The next was I wanted a jazz and Precision pick up config. I realised he only way to get this was to have two basses, so it turns out my perfect bass was actually two! Then I searched for the perfect amp. When I was in my prog phase it was 2 Hiwatt DR103s, but in the end I settled for 2 EBS 350s. It became equally as important as the bass.

Brilliant!

It's the availability of gear too. In the dim and distant past I'd have to trave to my local music shops or trawl the free ads and I'd buy what I found if I wanted it. Now with one click I can find anything I want. I lived for 10 years as a semi pro with 2 basses, one of which I never really used. I could go back to that now, but it would take some restraint. What I try and do is recognise if I'm buying something because I genuinely want it (my DB) or because I am bored (pre CBS Jaguar).

I never saw the fuss until I took up DB. Then when I picked up a pre CBS Precision I was hooked. So much so I bought it (I still haven't told my wife how much it cost). It plays better than my 66 and 73 jazzes and sounds better too.

That's a reasonably high level of reading there. In fact, that's pretty advanced - certainly (from memory) beyond Grade 8 standard sight reading tests. I've just checked these out (DB, but it's fair enough) and these are pretty simple pieces at Grade 8 that wouldn't frighten most players - before the nerves kick in mind you! http://www.abrsm.org/fileadmin/user_upload/examples/doubleBassSightReading.pdf you obviously know your stuff, so I won't patronise you, but the majority of the sorts of pop 'standards' we may want to get transcriptions for were actually improvised themselves around a key theme. The Jamerson stuff was all improvised around a rhythm pattern and a set of chords, which they then practised until the producer was happy. (May not even have been Jamerson if you believe Carol Kaye - I interviewed her once as I work as a writer, and she's still claiming she did an awful lot of it...) I guess the only reason you may need to read with that level of accuracy is if you got a last minute call for a show gig where no improvisation is necessary.

I think transcribing is actually very useful at understanding how to read. What it does is helps to imprint certain rhythmic patters on your brain, allowing you to relate them to phrases you already know. I learnt through understanding rhythm patters first, but many bassists don't. If you've got the rhythm and the key signature correct it's less likely you'll make a mistake. As a result, I'd say if you have the time to do so, then it's worth it. I remember trying to transcribe 'Maybe it'll rub off' by Tower of Power once. Took an age, but helped me understand syncopation and how such a 'busy' form of playing can work. (My girlfriend at the time almost left me mind you). The next level is then transcribing from other instruments. Jaco famously used to play horn parts rather than guitar parts, which gave him his interesting phrasing. I did this in the past, but don't have the time now. And whatever you transcribe, make sure you share on here and get some feedback too - that's helpful.

[quote name='Norris' timestamp='1476694396' post='3156267'] Most pro musicians I know have a fall-back "bread and butter" band for when the tour ends, or even several. Plus teaching, guitar setups, etc. I'd go for it if I were you, but depending how much you earn and how frequently you play, you may well need another source of income [/quote] We used to call this 'portfolio employment', and you're right - you need something else. My brother used to work with Portishead and Roni Size bass legend and his day job was a film editor. It's fair to say he has a pretty cool life! Teaching is the usual fall back, but the professionals I know who do this don't view teaching as a fall back, but as something equally important. We'r also comparing the situation in the UK with the USA which is unfair. Friends I've had who lived Stateside have told me that you can make a good living playing gigs because the scene there is more established. It's hard though, a 4 hour shift is normal and the quality of the bar bands there is very, very high.

[quote name='blue' timestamp='1476663712' post='3156161'] Drinking or any substance would take the fun out if it for me. I like being in control, if your buzzed up your no longer in control. [/quote] I'm talking about post-gig, not during. Also, we were an originals band playing no more than an hour to an hour and a half per night, it's different because music wasn't treated as a commodity in the same way as it is when you're in a covers band. Playing your own music to a large group of people (sometimes big gigs, often just a few hundred) is a huge adrenaline rush. If I were out doing Mustang Sally on the wedding circuit week in and out (which I know a few people do, they love it and they earn a decent amount - so please don't think I'm. Ring negative of judgemental) perhaps I'd feel differently, but I don't.