Burns-bass

So good I said it twice!

I used to love it. Problem is, I 'enjoyed' a drink too, perhaps a little too much. Mix big-gig adrenaline with the reality that when you leave you're just another normal person out there and it's easier to sit talking rubbish to people until the bar closes.

You need to understand how the song is created, which should allow you then to unlock some of the harmonic elements within it. You can take a modal approach to soloing, which is cool, and then subvert it by substituting the modes. Bass solos can be great, but they can also be woefully indulgent. One of the main reasons is that it's difficult to make intervalic leaps. It's also that bass itself is low end, and solos can sound muddy to the listener. It can also be difficult to play with time as you're there to underpin everything. Personally, I'd avoid an extended solo - even in a group jam. In some cases, it can help you get the gig as there's nothing worse than seeing someone getting lost in the groove, and then just getting lost. If you want to study it, there are some great books out there, but they're focussed around jazz playing. One thing that helped me was to start to listen to horn players. They can help to highlight how to outline changes while creating new melodies on top. It can be quite tough to follow sometimes, but it's how a number of contemporary bass players found their own voices.

Sounds great! I should say, my bass needed the extensive work, but yours may not. He will explain everything he does. Welcome to the DB club!

I bought a 60s Czech ply bass for a similar amount from a professional who used it for a Buddy Holly musical. It was great, but then I took it to a luthier (Martin Penning in Frome) and £500 later and the bass is incredible. When I started I didn't realise two things: 1) How much string a and a pro art up costs (mine needed more work than a set-up, I had a new bridge, fingerboard shot). 2) The difference a pro set-up made. Before I had a wonderful sounding bass that played ok. After I had a beautiful instrument that plays amazingly. The other thing was that I didn't realise my bass needed work until my teacher talked me through the instrument. I'd recommend you get lessons and get a teacher who can help you with this. Mine helped me select the right strings, find a luthier and get he set up for my playing style. If you're anything like me you'll love the instrument, but take it slowly and enjoy it... I'm still barely scratching he surface of it.

I would welcome a beginner's session. I'll email him now.

It was given to me for free by a kind soul, so I'm just passing it on! DM your address and when I can dig it out I'll pop it in he post :-)

Sorry, my advice was pretty much common sense wasn't it? I do have a plastics end pin ball thing that I used to use when practising in a flat. It helped and I'l happy to send it to you if I can find it...

I would always recommend people try the guitars they buy. It may sound a but weird, but my wife and I (and now new baby) will turn a trip Into a bit of fun. (She doesn't know how much I spend). The only instruments I have ever bought and kept are ones that I have tried personally. An all original early 70s P should be available for around £1500. And I'd avoid eBay unless you talk to the seller on the phone.

I have a music room at home which is great, but if I compre upright to electric the electric playing is almost always louder. When I first started playing my mum spoke with our neighbours and we agreed a practice schedule and a curfew (9pm week nights, and 8pm weekends). And I used to play LOUD too! Why not knock on their door with a bottle of wine and ask the question? It's what I did when I moved into our house here and was appreciated.

I'd go for a Warwick bass. There is one on the site I think, and I bought one for about £180 once. Was a beautiful bass for the money and played and sounded wonderful.

[quote name='alyctes' timestamp='1471644072' post='3114795'] Not as rare as the Hofner, and not complete, but... I bought (from this very forum) the battered remnant of an Ormston-Burns EUB. It does play, and the neck, pup, tailpiece and bridge are original. I knew it was a bit unusual at the time, but I thought that it would be one of maybe 100 originally made. Nope. Apparently, they made maybe six or seven - nobody is quite sure. [/quote] This is amazing! I have one of these too, in completely original condition (hence my user name!). The only issue I have is that the bottom spike is missing so a local metalworker is building me one now. The pickup is ok and the original owner used pint for Airfix models to touch it up but it's all there apart from one foam mute. As far as I heard they only made 8.

I've got loads of guitar books and stuff you can have if you want them? DM and I'll chuck it in the post.

I was talking to the venerable Dpuble Bass luthier Martin Penning about this very issue. I took my DB in to him and he basically rebuilt the thing for me. I questioned whether it had affected the originality, and we discussed that in the orchestral world, it's all about tone and playability that matters. He gave my (very) humble instrument the same level of care one many times the price would cost. When I took a 66 jazz into the workshop to get sorted before a gig the guitar tech was shocked when I suggested resoldering the Jack socket. Basically, if you play it then it will need work at some point. But it keeps it playable, which is what they're for. There's something slightly sad about a vintage instrument that's never touched or played or enjoyed. I always believe that about mint condition guitars. Whoever bought it never enjoyed it or used it. Sad really. Sorry, nonsensical rambling over.

I often play along to the Liquid Spirit album. Poorly of course, but that bass tone and the soulful but restrained playing is beautiful.

My suggestion would be to find a teacher and get some lessons. Most will have a DB you can use, and they can then help you to find an appropriate DB. Don't spend a huge amount of money off he cuff (I say this as someone who did just that), have a chat with some people in the know. Playing upright is a tough old thing to do, and you can get yourself into all sorts of problems if you don't do it properly. If you let us know where you are perhaps we can help! Once you get over the initial horror of learning what is in essence a completely new instrument you'll love it - I bet.