leschirons

[quote name='allighatt0r' post='483320' date='May 8 2009, 09:23 PM']What are the best mid priced precision alternatives out there? I want something that sounds like a precision, but doesn't look like a generic Fender (I am a thorough non-conformist, just like all the others! ) Currently i play a BB614, which gives me a great sound, although i would like a passive bass! So basically, my wish list is: 1) sounds like a precision 2) doesn't look like a fender 3) is passive 4) and is mid-priced (300 to 500) Any ideas will be much appreciated! [/quote] Any premium quality cricket bat. That seem to fit all your criteria.

I'd take Vanessa May but failing that opportunity, a passive jazz bass (all you lot with active stuff would all be in trouble in a month) and an Eden Metro (heavy, but then there wouldn't be any upstairs gigs would there?)

There was plonker in the States on ebay last week with an "original" Fuzzface pedal (the blue round one) He had a buy it now of $1650. Having said that, I have a 6 string Aria bass so I imagine that's worth a further 50% on top. Anyone? $2,100? I'll accept a PX. No?

[quote name='OutToPlayJazz' post='413878' date='Feb 19 2009, 08:12 AM']If you hear Victor playing in context, you'll understand it better. Most of his playing is some of the most utterly musical bass playing I've ever heard. Remember, Victa is not God... God works [i]for[/i] Victa! [/quote] Have to agree. I've seen him live twice with Bela Fleck and in that context of that particular band, I don't know another player that could offer what he does. I think the problem is that when we talk of our favourite demigods of bass, we tend to think of them as virtuoso players and assume that they'll be great to listen to as a solo act. Apart from all his promo work for manufacturers and DVDs and stuff, he's a great guy to have in a band with a lot to offer as a member which is what I'm sure he'd rather be doing as opposed to demo-ing amps and basses at clinics which obviously helps pay the rent. I've seen loads of "world class" players at clinics and to be honest, it's a few very technical but boring tricks for the masses. You need to look at players in a band situation to appreciate what they do. (Just my opinion)

[quote name='allighatt0r' post='484546' date='May 10 2009, 07:09 PM']Come on guys, what sort of compressors are we talking about? built into an amp? or a little stomp box? any recommendations?[/quote] I use an old Dod guitar compressor stomp box. (Orange in colour) Sounds great and use it all the time. Ultimate slap tone tool.

[quote name='7string' post='481390' date='May 6 2009, 08:43 PM']I've always found jazz to be a little out of reach. Not from the point of view of understanding it, but from the point of view of wanting to listen to it. I've listened to many kinds of music, but find jazz a bit 'vanilla' and not the proper vanilla either, the really bland stuff. As in the quote of take by the OP, jazz isn't fun nowadays it's serious. It seems to be in the realm of an enlightened elite instead of embracing a wider audience. [b]This is just my opinion.[/b][/quote] Have to agree with that 100% It seems to me (apart from classical music) that "jazz" is the only music that people try to analyse and that in it'self tends to distance people, like it's some sort of secret that's only available to a selected few. I think jazz will always be there, even if there's only 6 people listening to it eventually, it's still relevent and will always be responsible for giving roots to other genres of music. If it's good and accessible, then it's just good music to the listener.

Just like to say that having recently sold a bass to Manos in Greece, he's a thoroughly nice, trustworthy guy who does what he says he'll do. Paid quickly and let me know as soon as the bass had arrived safely. Great comms too. Keith (leschirons)

[quote name='51m0n' post='479807' date='May 5 2009, 11:29 AM']Really important you get the most basic bits down first. Strap length, left hand (not squeezing to hard) right hand not plucking to hard, no hard break angles on wrists. Check their bass over - high action is a bad thing for a 14 yr old beginner, sort it out if necessary (and you can). Great starting riff is Hey Joe - first the roots then the little walking lick. Its trivially easy and will in 10 mins make them feel like they can play a classic song.[/quote] This is really sound advice. I would just add that in this situation I would also get them into the easiest song that they would actually like to play. I gave a local young girl some guitar lessons a couple of years ago and her choices were all bands like Dragonforce so I was on a loser. Luckily, she was also into Greenday so we started with Basket case. It's all a matter of holding their interest and being able to achieve something no matter how simple although you'll know how keen they are when you get to lesson No2 when you see if they've practiced or not.

Has to easy listening for me. Last time was the best of Carole King.

Regarding your first question, I don't feel I have to be familiar, comfortable or have empathy with, any of those other instruments you mention unless they are playing in the same band as me. I only play bass (with regard to bass type lines) and feel totally fulfilled and at ease with just that one instrument. My role in any band I've played in has always been appreciated, not particularly down to my ability, but in so much that I complete the line-up and sound and nothing else is required in the low down department. I'm always very aware of all other instruments and even the other musician's moods when playing but I must admit, I'm not aware that I listen to other bass line type instruments when just listening to music other than what I consider to be the instrument I consider is playing the bass line. I suppose that could be a keyboard or even a Tuba but I don't tend to think of them as different instruments just the bass line that happens to be played on a whatever. (Think I lost myself in this first bit a tad) Your second point, I would simply ask how many of us have played Superstition in a covers band and found it necessary to actually have what we term as "the bass part" played on a keyboard? My point being that obviously we are influenced by the keyboard in that particular song enough to want to make that part ours, on the bass. If I listen to that track, it is obvious what I feel I must play to make the song work. Whether or not I'm influenced by other instruments that play bass type parts, I can't really say as most of the music I listen to, has a bass in it so, maybe I miss a lot of what is actually going on. Interesting point you've raised there.

I don't think anyone is likely to call you a dole scrounger. That's some task you've taken on there so all power to you. Especially after the obvious turmoil you've had in your life. Welcome to the forum anyway. A bientot

The guitarist I play with here in France knows the luthier and has one of his electrics and an electro acoustic. I had the pleasure of trying two of the basses at the Paris music show last September. They are incredible. So playable. Both necks were perfect for me but, I had always wanted an F bass so I went for that instead. The tonal variation on both was amazing and I found myself attempting things that I had previously only hoped I'd be able to play. Both were well balanced and despite one weighing in at a hefty 11lbs 5oz, felt great. I have also tried Noguera basses here and whilst being beautiul top quality instruments, the Kopo's were better. I think the only downside for me was the radical body stying on the basses I tried. I was sorely tempted and it was only about 55% 45% in favour of the F. The finish is up there with the best and the fretwork and attention to detail is truly superb. If you have the opportunity to try one, or pick one up at a good price, go for it. You would not be dissapointed. Whatever pick up configuration or spacing they use on the basses is exactly right for that bass. I think I have one of the brochures here so if you want it, let me know and I'll post it although it's all in French.

1) Luthor Grosvenor, guitarist with Spookey Tooth recorded with Mott the Hoople under the name of Ariel Bender. 2) I have €8.55 in my pocket

Check out Johnny Lang and see if you can get a John Mayall album called Behind the Iron cutain. On the album, he has Walter Trout and Coco Montoya on lead guitars. It kicks ass.

I tend to practice standing up as I found I could play great when sitting down and then cocked it up on stage so I think it made me over confident.

My main active gigger has a passive switch so you can do what the song requires.

[quote name='EdwardHimself' post='476264' date='Apr 30 2009, 06:27 PM']That's what i f***ing meant. They do suck now obviously not just because they're sellouts but WHY they're sellouts which is the fact that they just pump out poppy sh*t to please the masses.[/quote] Right, we'd all turn that gig down in preference to playing for £200 in a pub wouldn't we? I quite like them and can't blame them for wanting to make loads of dosh.

Citroen C15 van. Can get my rig, 2 basses and the P.A. in it.

All the small things Blink 182 and Basket case Greenday. Hardly any notes involved and both rockers for the crowd.

Awsome band, saw them first time round. We used to do Sylvia when I was back in the UK. Great bassline construction. And, that intro to Hocus Pocus, better than any Smoke or Stairway for the "expectation" factor. Bought Jan Akkerman's solo album. Puccini's Cafe' worth checking out. Very cool and laid back.

[quote name='OutToPlayJazz' post='466230' date='Apr 18 2009, 04:46 PM']I've just got to the same point - I've left one outfit with £6k of work in the book & left my long time rock trio because I really want to do something different & more musically challenging... Obviously I have my jazz work, shows & classical playing/conducting, but I really want to push the boundaries a little. A little Flecktones, anyone?[/quote] No problem, I'll start building a guitar shaped electronic drum kit. Both gigs I went to I spent more time watching Futureman than big Vic.