risingson

Oh yeh, one thing I have learnt from touring is how lonely you can get which is ironic considering how many people you're usually surrounded with. You need to have something to occupy your time doing when you're not playing, whether it be writing, exercising (that's a really good thing to be doing), practicing, etc. otherwise time becomes a long, drawn out affair. The biggest mistake is drinking, which becomes so easy to do when you have free time. It depresses you and sets you up badly for the whole tour. It's much better when you tour with people that you wholeheartedly trust as well. Arguing amongst each other is commonplace but usually a few deep breaths and you'll realise what you were arguing about was pointless anyway. Good luck with your decision

I'm a similar age to you also (I'm 21). I was in the same position to you a few months ago, I had a place in Uni to do history and was torn between packing it all in and selling my gear, or carrying on playing. I decided to carry on, because I knew I wouldn't have been happy not carrying on playing music, a.) because it's what I'm good at, and b.) because you literally only get one shot at our age to do what we want to do. 20/21 means you've got your whole career ahead of you. As it stands we've got a lot of work to get where we want to be but we've got enough contacts to play just about anywhere in Europe and Scandinavia. Keep your gear, pretend it's unsellable. You don't want to find out a few months down the line you've made the wrong choice and have to sort out your entire rig again. If you decide to carry on then make sure everything is on your terms, and don't stress about it. You've got a long time to decide what you want to do yet. Being a working musician playing your own stuff means taking a big gamble but if it's what you want to do then it's definitely one worth taking.

Being once a huge fan of Zender I feel a bit bad saying it, but I prefer Mr. X's 5 string approach on the album version. A number of Jamiroquai's entourage have categorically denied Randy Hope Taylor's involvement in the album version, although IMO it sounds like him. It seems to be a major source of the qualms between Jay Kay and Stuart though. Worth noting that when Jay Kay was last asked about it, he said he honestly couldn't remember the chaps name, but he was a producer, and apparently a bit full of it!

A good preamp and compression and a lot of basses will sound good slapped. I've seen this guys stuff before, he's really great, but I do not think it's an accurate measure of what a Rickenbacker sounds like, especially not amplified by the usual means.

F-Bass right now probably or a really great mid/late 70's Jazz. The F-Bass was the only boutique style bass I've ever played that made me want anything above say two grand. Played MTD's, Sadowsky's, Pensas, etc. but none of them do it for me apart from the F-Basses. Having said that... would probably take an Alleva too!

[quote name='Rich' post='894741' date='Jul 14 2010, 02:29 PM']errrm... yuck[/quote] A giant +1. Graphic EQ's on a bass amp, not my thing either.

It's one hell of an album. Even if you don't like the music, the production in it is so professional and clean. Supposedly a lot of producers still use it to reference the quality of their monitor systems in the studio... not to mention the caliber of musicians on the album... reads like a who's who of 70's and 80's session musicians.

[quote name='Spoombung' post='893151' date='Jul 12 2010, 08:36 PM']For [url="http://soundcloud.com/spoombung/set-in-silver"]straightforward tunes and songs[/url] - step input on Logic/Mac - then I learn the stuff on bass and guitar. For [url="http://tinpanalley.biz/spoombung/The%20Stinking%20Rose/09-A%20Broken%20tooth.mp3"]elongated riffs and hybrid styles[/url] - bass For [url="http://tinpanalley.biz/spoombung/I%20Saw%20Spoombung%27s%20Daughter%20Consumed%20by%20Kirby%20Dots/05-I%20Had%20Some%20Shoulders.mp3"]electronica[/url] - Reaktor. For free-improvisation - [url="http://tinpanalley.biz/spoombung/I%20Saw%20Spoombung%27s%20Daughter%20Consumed%20by%20Kirby%20Dots/06-Jumping%20Juniper.mp3"]broken guitars, springs, clips and bass[/url][/quote] Reaktor... what a painfully complicated piece of software! Brilliant in it's uses though.

This is a very interesting topic! I write primarily on guitar, and often on keys as well. Bass is my preferred instrument but it doesn't have the harmonic chordal capability that other instruments do, therefore it's hard to write songs with.

Off Erykah Badu's new album. Sick groove. Herbie Hancock with Freddie Washington on bass for this one.

Me playing in Sweden about year or so ago! [attachment=53890:6531_101...500989_n.jpg] [attachment=53891:9428_176...906234_n.jpg]

I won't base my opinion on the video, I'd like to hear the actual record first. Love Jamiroquai, Zender was one of the reasons I got into bass but having met Paul Turner (albeit briefly), I'm completely enamoured with his playing... what a sick bassist! Looking forward to hearing the new album.

I'm not a new face but I only ever use the forum once in a while. It's a good place!

[quote name='urb' post='881427' date='Jun 29 2010, 10:19 PM']That's pretty full on from Gary, but there's another quote from McLaughlin on the Abstract Logix site where he talks about his latest album To The One, in which he frankly explains he effectively sacked Hadrien from the band because he played too loud... I've met Hadrien a few times and he really seems like a cool guy and very down to earth, I agree his incredible technique can be quite cold sometimes and if I'm honest guys like Gary Willis or Garrison or Etienne play with much greater musicality and far less from the POV of massive technical chops first and appropriate and proportionate musical responses second... EDIT - here's the JM quote: "RS: How did Etienne join the 4th Dimension…or why didn’t Dominique DiPiazza join? JM: I’ve known Etienne for about eight years now. I first saw him with Zawinul’s Syndicate in Nice, and we became friends at that moment. He’s a wonderful musician and human being. About two years ago we were beginning a European tour, and the day before the first gig Hadrien Feraud arrived with a broken hand. Only Dominique DiPiazza was capable of coming in on 24 hours notice, and he sweated!!! But he came through with flying colors. Prior to this tour, I’d had words with Hadrien about his volume on stage, which was excessive. I’d actually had many words with him about his volume which unfortunately, he seemed unable to change. Several months later we had a gig in Switzerland on the opening day of the Olympics in Beijing. The gig was a free concert for the Tibetan people with whom my wife and I are associated. Hadrien was healthy, and aware that this was a kind of “test” concert. Unfortunately the volume was way over the top, and shortly after I just had to let him go. Dominique has quite a career going for himself, and it was clear that I should find another bassist. I called Etienne and he was in. The rest is history, as they say."[/quote] Only recently heard of these two guys and their playing leaves me pretty cold... dazzling delivery and all but just not my thing. I could see why playing with Etienne would be preferable as a drummer... the guy is a monster, with a great fundamental and great technique that he doesn't have to spread everywhere. It's why (and controversially perhaps) that in my opinion people like Hadrien are forgettable as musicians, their idea of bass has evolved into something quite unusable in most situations. Etienne M'Bappe isn't my kind of player strictly either, but he clearly is comfortable in keeping things routed down, as well as being a confident soloist, qualities I think Hadrien lacks.

[quote name='enty' post='882557' date='Jun 30 2010, 10:58 PM']A couple of pics, as promised...[attachment=53320:IMG_4338.JPG][attachment=53319:IMG_4334.JPG][attachment=53321:IMG_4343. JPG][attachment=53322:IMG_4344.JPG][attachment=53323:IMG_4346.JPG][/quote] Beautiful! I want one bad. Can't help feeling Stingrays and alike are mucho overpriced right now though.

I think Robert Trujillo did a fair thing, though you would have thought he'd given it over straight away. I am a big Jaco fan, but his bass guitar didn't make him what he was, he could make any bass sing. I think the bass itself holds little value to anyone else apart from Jaco's family. It's not like Jamerson's Funk Machine for example, which as far as I'm concerned probably bedded the most No. 1 Hits than any other bass on earth and does truly deserve to be taught about in music classes in all schools around the world.

Transcribed Anthony Jackson's bassline to 'Fate' by Chaka Khan whilst very bored! It's got a wicked groove, very Jamerson-esque in parts as would be expected!

[quote name='lowdown' post='880385' date='Jun 28 2010, 09:38 PM']All Spain Lovers... Al Jarreau, with Steve Gadd, Ready Freddie Washington on Bass, Joe Sample + others. Lots of energy. Garry[/quote] Very cool, Freddie's still one of my favourite players.

[quote name='Doddy' post='880317' date='Jun 28 2010, 08:45 PM']I enjoyed his Glastonbury set, but I really didn't like his rendition of Spain. I just couldn't feel it. It's one of my favouite tunes,and was looking forward to hearing him do,but I was really disappointed. I've got an awesome version of it by Chick Corea's Akoustic Band with Weckl and Patitucci,and it has so much more energy,feel,fun and balls than Stevie's version-with just piano,upright and drums.[/quote] Fair enough! There's no knocking Patitucci with Corea (although I can't stand Dave Weckl's drumming). Love Stevie's version all the same, I think it kicks hard.

Brilliant! Love this rendition of Sylvia/Hocus Pocus from 1972 on the Old Grey Whistle Test. [url="http://www.youtube.com/watch?v=-v7LzOeTkfM"]http://www.youtube.com/watch?v=-v7LzOeTkfM[/url]

[quote name='Musicman20' post='880265' date='Jun 28 2010, 08:20 PM']I wonder whether Nate cares about the 'dont mix drivers' the speaker gurus talk about. I doubt it...probably because if it sounds good it sounds good.[/quote] Players like Nathan Watts have been in the game long enough to realise that although good gear matters, it's whatever needs the least maintenance on the road and what sounds adequate to get along with! People with his level of credibility don't need to deal with guys on online forums claiming to be experts on drivers, whereas given half the chance all those 'speaker experts' would probably jump at the chance to be Stevie Wonder's bass player and MD.

Saw that a few people weren't so impressed with Stevie's performance at Glastonbury. Check out this cover of Chick Corea's Spain on his tour in London a year or so back. His band are so, so good... the Trumpet/Sax/Drums and guitar are out of this world. [url="http://www.youtube.com/watch?v=nL-KvRXiOyY"]http://www.youtube.com/watch?v=nL-KvRXiOyY[/url] and this: [url="http://www.youtube.com/watch?v=g-13YKaqiik&feature=related"]http://www.youtube.com/watch?v=g-13YKaqiik...feature=related[/url]

I play both, although I play bass much more competently because I focused on it and honed my skills. Play both still, you should never be short of work as a good bassist or a good guitarist, but the great thing is that good bass players really can get a lot of work. Get your reading down and your ear together and you can be a versatile musician... anything from Big Band work through to side work in a band, or whatever. One piece of advice I learned from going to study Music at uni is that on popular music courses, it matters if you get a good mark at the end of it, but it's way more important making contact with everyone on your course and in the college. Usually your fellow students and sometimes tutors are the ones that will get you work in future, make every connection you can and play for as many different people as possible. It will ensure that you become known as a reliable and accessible musician.

I think this is pretty interesting, because as far as I'm concerned, Paul McCartney sounds like a guitarist on a bass a lot of the time. This is not a criticism, on the contrary I think it gives the instrument a unique slant when someone who translates their skills from a separate instrument onto another, and as far as I'm concerned, thats what made McCartney so widely imitated and admired. I don't buy the whole 'guitarist can't play bass' or vice versa, I think it's irrelevant... if you have a musical talent then generally, applying it to an instrument regardless of your level of skill on the given instrument is interesting to hear. John Lennon said 'he was an artist... you give me a tuba and I could get you something out of it'. I do think multi-instrumentalists can spread themselves too thin and never achieve technical proficiency on one particular instrument, but actually, it's the musicality of it all that concerns me. I'd much prefer to listen to a well written song than a bunch of musicians with technical proficiency but no real soul.

[quote name='Shockwave' post='875653' date='Jun 23 2010, 05:51 PM']After trying a stingray with flats i can state that in my opinion, Bernard used Flats with his ray.[/quote] As far as I'm aware, Bernard Edwards rarely changed his strings on both his Precision and Stingrays but all of which were strung with roundwound strings, never flats. P-bass/old roundwounds = Good Times tone... not a Stingray as commonly believed!