Burns-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.

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.