risingson

[quote name='algmusic' post='1317452' date='Jul 26 2011, 06:48 PM']but you'll be limited by your technical ability to play what you want at some point.. it's why we practice[/quote] Of course, but you don't need brilliant technical skills as a musician to get across your point. Just look at David Bowie. Good technique is enough. Brilliant technique is great but past a point it detracts the focus away from the music and all of a sudden a night at the theatre becomes a night at the circus.

You don't need technique to be musically minded. John Lennon said "I'm an artist, and if you give me a tuba, I'll bring you something out of it".

My rule: if it sounds good, then it doesn't matter what it's made of! Different kinds of wood do sound different and I do have my preferences but I doubt any of the audience I play to will be able to tell the difference anyway.

[quote name='lobematt' post='1315977' date='Jul 25 2011, 05:25 PM']Yeah by session I don't mean just studio, I basically mean people calling me up wanting to give me money to play my bass! Which I know is far down the road and very hard to come by but I know it's not impossible.[/quote] The guys I know working as professional musicians are working practically every night down in London and around the country. None of them apart from one or two are working on only one gig. They do functions, studio work, dep work, reading gigs, they fly all over Europe and the world in some cases to get to where they need to be. It is incredibly hard work and sometimes for little in return. Unsociable hours. You need the drive and determination to get yourself out there and make yourself known to people asap.

[quote name='Chris2112' post='1315998' date='Jul 25 2011, 05:34 PM']But then you must consider that everyone doesn't like the same things. I love Status Graphite basses, I always have and I consider them 'the best' at what they do. On the other hand, there are plenty of people who dislike headless basses, dislike the graphite sound, dislike the image etc etc. So what works for me doesn't work for everyone else. However, I've played plenty of high end jazz basses though typically they are not what I'm after. Looking at it objectively, Sadowsky basses have always struck me as average as far as jazz basses go. Surely a case of different vinegar strokes for different folks, as Roger has had order books filled out for his basses over 20 years now. But they've never really impressed me.[/quote] You've summarised what I've been in agreement with all along... it's personal preference!

[quote name='Chris2112' post='1315953' date='Jul 25 2011, 05:02 PM']But then you could say the same of any high end bass builder; they are in business because people pay for their instruments.[/quote] I think it has less to do with that and more to do with [u]why[/u] such big names are buying their instruments. I know of many high-end bass brands but I can't think of many with such an extensive and varied artist roster. My point is that the names that keep cropping up who have bought Sadowskys are people that have been around for years and are quite frankly the least likely musicians on the planet to buy products that are 'average'. Walter Becker for example: probably one of the biggest audiophiles in popular music and notoriously one of the most demanding people to work with. Sonic clarity and perfection mean everything in his music. You think he'd be okay taking average gear to the studio and to live performances? Something doesn't add up there. Couple this with my personal experience of Sadowsky as a company and the 'average' argument just doesn't really work out.

[quote name='lobematt' post='1315779' date='Jul 25 2011, 02:45 PM']I'm in the process of putting together a musicians CV complete with demos, youtube links etc, with a view to get some session work out of it. My question is though, who would I be best off sending it too? Would it be labels, management companies, studios, all of the above or someone else entirely? Cheers![/quote] I think that whilst what you've put together is a good idea, work as a session musician comes from climbing the ladder and demonstrating in a practical environment that you are capable, reliable and a friendly person with whom people will want to work with and recommend. In fact more specifically, the only person they'll want to recommend ever again. Networking will ultimately be the thing that gets you work. Ask producers if you can sit in on up and coming artists so you can get a feel for what is required as a studio musician. There are people who will need musicians for dep work on T.V and for studio dates as well, expect the cash to be minimal to non-existent but being reliable and diligent with these kinds of people will earn you more and more work. And definitely get your reading together!! A lot of stuff I've seen recently has been chart work, but even still you don't want to give anyone the excuse to call someone else. Have every base covered. And good luck EDIT - just noticed you're based in Liverpool. You been down to see what's happening at Parr Street at all?

[quote name='Chris2112' post='1315829' date='Jul 25 2011, 03:29 PM']Well, it's not my fault Sadowsky makes an average product! [/quote] Definitely not the opinion of many of the world's greatest bass and guitar players unfortunately. Will Lee, Mike Elizondo, Walter Becker, Dave Bronze, Marcus Miller, John Patitucci, Daryl Stuermer, Willie Weeks and that's just the tip of the iceberg really! As far as I'm aware (with the probable exception of Will Lee and Walter Becker) endorsements from Sadowsky don't really exist, which means that these very capable and longstanding pros are investing their money in a product that they like. Not liking a product is one thing, but I doubt anyone could argue that Sadowskys are an average product.

[quote name='BigRedX' post='1315817' date='Jul 25 2011, 03:20 PM']Depends how you are recording. If it's multitrack and you've got good separation of instruments, and the overall "vibe" of the track is good then play through to the end and go back and fix your mistakes. It's just as bad to make all the other musicians play the bits that they've already done right over and over again because you screwed up.[/quote] I agree on both points and for different reasons. As much as I enjoy overdubbing after the drums and a basic keys track has been put down, it's always nice to capture a truly 'live' performance of an entire band in the studio as well. It becomes less of a draw to be overdubbing endless takes of instruments and allows you to to stand back and actually be subjective about what you've just recorded, mistakes withstanding.

[quote name='Prime_BASS' post='1315328' date='Jul 25 2011, 01:29 AM']I'm just bout to upload our latest track to our Facebook page which is in my sig. I had to do all the mixing myself so forgive me for it's amateurness. Personally I'd rather sound a mixture of Rage, Midget and Mad Capsule Markets, and I'd say my Writing style is similar to the bassists of all three. I just don't seem to be very consistent in how well I would play, and hearing how bad I played over the weekend put another downer ontop of the fact that I wasn't totally happy with how the sound engineer insisted we set up and the recorded sound from my rig was pretty naff. It was one of those days that just didn't go aswell as it could of.[/quote] Cool, I'll check it out. In the meanwhile, relax a bit. Just enjoy playing music for what it is, and most often you'll be your own worst critic if you'll pardon the cliche. Take practical steps to resolving your issues like getting your timing together with a metronome and making sure the notes you're choosing are the right ones at the right time. Most people would rather hear a bassist play one or two correct notes a bar as opposed to two right notes and 7 wrong/badly chosen ones. Simplicity is sometimes the key, and I think once you can realise this then it can be easier to sit back and enjoy the music that you're playing.

Enjoy bass playing for what it is, don't overcomplicate things and let the music breathe by not overplaying and creating space for the rest of your band. They should be just as aware of not overplaying as you should too, it's not just a bass player thing. It's really easy for people to offer advice here without necessarily knowing what kind of player you are and what kind of music you're into. Got any live material to share of your band or artists you particularly enjoy?

[quote name='Norm' post='1314169' date='Jul 23 2011, 08:02 PM']Had a trip to deliver some of my wife paintings to a new gallery in london a couple of weeks ago. Got it done early so made a 1st time visit to the bass gallery. Went in & was blown away, just couldn't take it in! Too many basses, amps & everything. Couldn't try anything, just wandered around like a twat for a while then left. Same used to happen to me in record shops, I'd go completely blank & leave without buying anything. The only thing I remember was a sweet old trace v6 valve head just inside the door! Felt like a right dickhead! oh well I'll have to go back again with a written shopping list. Cheers, Norm.[/quote] I was kind of the same, my girlfriend said my eyes lit up like a kids would on Christmas day. I took the plunge though and tried a few things out, and they couldn't have been nicer about it really.

[quote name='Chris2112' post='1314019' date='Jul 23 2011, 06:00 PM']Sure, they make a fine jazz bass, but you're [i]always[/i] paying for the name. Which is madness, considering the competition is making better jazz basses cheaper.[/quote] For once I actually agree Chris. Or at least partially. I've not come across anything that was 'better' built than a Sadowsky Metro that was cheaper, nor much worse, but you are definitely paying for the Sadowsky name. As long as you're happy to walk out with a bass you're happy with though, (here comes the age old argument) who really cares what you spend your money on.

Really impressive playing. He still doesn't sound like a bass player that demands my attention but there's no denying that the guy is a major talent. It was serious fret w***ing though!

I use my thumb a lot now to palm mute, on ballads though I tend to move up closer to the neck and play with fingers.

[quote name='BigRedX' post='1312350' date='Jul 22 2011, 08:52 AM']But surely the mark of a good luthier is that they will gently steer their customers away from their more ridiculous faux-pas and end up with an instrument that works on every level (playability, tone and aesthetics) for both the customer and the luthier. Warwick's current philosophy on custom models seems to be following that of the small-time luthier who proudly proclaims that they will build you anything you want, and like them the end result may be a fine example of woodworking skills, but taste and ergonomics rarely enter into it. Besides nowadays there are so many manufacturers and luthiers making such a wide variety of bass guitars that the need to have someone like Warwick cobble you together in instrument that they have no real feel for has become unnecessary.[/quote] Warwick customers probably don't share your views though, after all if you buy a Warwick, it's because you like the aesthetics, tone, playability etc. The people that don't won't buy one! The bass in the OP is not my thing whatsoever, in fact most Warwicks nowadays aren't my thing. But it is interesting, and it will get people talking about the brand. Mad instrument, sure, but we're a forum full of people who (for better or for worse) are talking about their products because of this instrument.

[quote name='Kevin Glasgow' post='1312478' date='Jul 22 2011, 10:46 AM']Hi Risingson, I'm glad you enjoyed the video! Yeah, I have listened to Debussy and Ravel but I’ve only really checked out their famous works (Clair de Lune La fille aux cheveux de lin, Daphnis et Chloe, Bolero, La valse, etc), which I love, but I keep meaning to check those guys out in more depth. Recently I’ve been listening to loads Olivier Messiaen's music. He’s an incredible composer, who I believe was heavily influenced by the music of Debussy.[/quote] Debussy is one of my favourites and the video was really reminiscent of some of his piano works, but on a bass! Never thought I'd see anything like it. Very musical playing and I'll certainly keep an eye out for future videos from you.

[quote name='kevin_lindsay' post='1312289' date='Jul 22 2011, 05:45 AM']Glad you had a good time at The Gallery mate. The bloke who assisted you - if he had a shaved head, that would have been John Chapman, great guy (he's actually just completed a new custom built guitar for my brother). If he had shoulder length hair, that will have been Martin, the owner. Great guy and a great friend of mine for many, many years[/quote] I saw them both but the guy that served me was John, incredibly helpful. [quote]How was the randy j head mate?[/quote] Really nice actually, it packed a punch and sounded brilliant. I liked the simplicity of it all as well, you only had to touch a few bits and then you could leave it completely alone. Obviously I couldn't ramp it up too much inside the shop but it was very good.

There are plenty of good after market preamps available. The J-Retro is very popular but there is also Audere, Nordstrand etc. to look at.

Just got back from playing one of their MV5's in the London Bass Gallery and it was one of the best sounding basses I've ever heard. Having said this I've found one or two to be not so much to my liking... but the Sadowsky today has made me think long and hard about what my next bass is likely going to be. The Sandberg California's are great basses. Really great in fact, and I'd definitely have one (and did indeed almost have an endorsement deal with them), but I don't think they compare very well with the Sadowskys... somehow the Sadowsky feels like the more expensive instrument in your hands. Just my opinion after today anyway. Neither bass delivers a vintage Fender sound to my ears unless you run them in passive mode. I've now played quite a few of each and I'd just recommend trying both of them out before making any prejudgements on either brand.

I've never thought the DRs were worth the extra cash, although I used to use them often. They always get championed as the best strings money can get but I think they have their downfalls actually. Add to that the bad CS and I'd just swap brands! I use D'Addarios and am happy enough although I've recently come to love Elixirs so I might make the swap soon.

[quote name='Kevin Glasgow' post='1309408' date='Jul 19 2011, 05:31 PM']Hi Folks, Here's a solo vid I recorded a while ago:- [/quote] You listen to much Debussy or Ravel Kevin? I only ask because that wholetone work and dynamic play in that video had really strong overtones of both composers. Really very enjoyable to watch and as far as I'm aware, very unique as well.

[quote name='BigRedX' post='1311919' date='Jul 21 2011, 07:17 PM']It makes me wonder if the latest lot of Warwick "endorsees" have had a competition between themselves to see who can persuade Warwick to make the most ridiculous instrument. So far it's a toss-up between this and the Adam Clayton monstrosity.[/quote] At least they're doing it though. It's the one thing that keeps me at least the tiny bit interested in Warwick; the fact that they pretty much will do whatever you want to your bass, providing you've got a lot of money. It's becoming a bit rare to see as people gravitate towards more traditional bass guitars. Warwick like the Lamborghini of the bass world, in fact quite literally now that Lambo are putting Audi engines in their cars.

Long story short, I was helping my girlfriend move out of her flat in Bethnal Green and in exchange for this she let me go to the Gallery for a bit. I don't often get down to London being based up north, but to me a trip to London isn't really complete until I've got to the Gallery. The service was great as well, I don't know the guy's name in there (it wasn't Alex this time) but he couldn't have been nicer about letting me try out some stuff. I actually went in to try the Nordstand VJ4 they have on their website ( [url="http://www.thebassgallery.com/product_details.cfm?ID=1587&type=Bass%20Guitar"]http://www.thebassgallery.com/product_deta...e=Bass%20Guitar[/url] ) but alas it was nowhere to be seen so in my quest to try out a few good 5 strings, I ended up playing a Sadowsky MV5PJ, a Dingwall Combustion 5 and finally a Sadowsky MV5, all through the Randy Jackson Markbass head + one of their 10" cabs. The first two were nice... they didn't blow me away though and I was a little disappointed to find out that the Sadowsky MV5PJ wasn't what I expected it to be, the low B wasn't as tight or focused sounding as I expected which was a shame. The Dingwall was cool and had a good low B but I was again a bit disappointed and quickly discovered that whilst the fanned fret thing was fairly easy to get on with, it definitely was not for me. The Sadowsky MV5 though, what can I say... it was brilliant. I've always found Sadowskys to be the basses I wanted to love but just couldn't for some reason or another. This particular MV5 was just excellent. The best low B out of all three of the basses I tried, focused, and such a massive tone as well. I was doing everything to justify the purchase of it but I think I'll have to get one now, it was just too great. The only thing stopping me walking out the door with it was the hefty pricetag of a little over £2000, but actually I think it was worth every penny. One of the best basses I've played. So all in all, a good day and if it hasn't been said enough on this site already, get down to the Bass Gallery Camden if you're in London as the service is always good, and the moment you walk in the door you'll feel like you've died and gone to heaven!

It's not too tough to get a sound out of any instrument and I should imagine as a stringed instrument getting a tune out of it would be fairly straight forward... I should imagine the difficulty would come with playing it properly/traditionally and being outside the comfort zone that western music offers. I'd really love to learn the Sitar actually! If you get unstuck, just buy one of the old Danelectro sitars. It's what can be heard at the start of 'Signed, Sealed, Delivered' by Stevie and the solo of 'Do It Again' by Steely Dan. [url="http://www.youtube.com/watch?v=3dZj7greeiE"]http://www.youtube.com/watch?v=3dZj7greeiE[/url]