Hector

[url="http://www.bryanrtylermusic.com/chordfingeringcharts.html"]This might come in handy[/url] EDIT - Btw, I think that 4 note voicings are a little too much on bass, and happen to think 3 is a very useful/workable number. Those charts given, you can just cut out the notes that don't do much in terms of defining the chord quality (as per the excellent advice so far in this thread). If you really want to get deeper into it, I recommend checking out Todd Johnson (some great videos on youtube), who has a nice system for harmonising chord melody on the bass and also a new book from Randy Vincent, called [url="http://www.jazzguitarlessons.net/three-note-voicings.html"]Three Note Voicings and Beyond[/url]. Just starting to get into this stuff myself on the 6, and while I don't play in any situations that might require me to comp, it's useful to move away from a linear approach to harmony. Could always do away with drums/piano and split gig profits 2 ways instead......

I'm thinking about modding my workhorse bass (Fender MIM Reggie Hamilton sig.) and have been thinking about a J-Retro and some Nordstrand pickups. Which would be most worthwhile to change first? I won't be able to afford both for quite a while....

Hi all. Changed the strings on my jazz bass recently to a lighter gauge than I usually have, as an experiment. I quite like them, but they're a bit too thin for the slots in the nut. Can this affect my tone? I feel like they buzz a bit, but that could be just cause the strings are bright and new (I'm used to playing old super-dead strings). If it is a problem, is there a simple fix, like padding the nut with some material? H

[quote name='RhysP' post='1230488' date='May 13 2011, 09:59 PM']I downloaded the itunes video podcasts earlier today & they're very good indeed. He puts things across really well so even a complete musical numbskull like me can get something from them.[/quote] Yeah, I think I'll try a month on his site off the strength of those, they're great!

On a related note - has anyone paid for any of the lessons on Janek's site? Was wondering what they were like, cause I'm thinking about taking the plunge on a month or so's subscription. Would be keen to know if it's possible to download lesson material/videos and revisit later.

Ugh, the bass equivalent of a denim wedding dress.

[quote name='RhysP' post='1228761' date='May 12 2011, 01:27 PM']It does sound lovely with the chordal stuff - really clear & defined. That's probably a much to do with his excellent playing technique as anything though. Are my ears deceiving me or is there some kind of reverb or delay effect being used in that clip?[/quote] Right on. I love the sound of those voicings in 10th, a lovely open sound to solo over.

[quote name='Bilbo' post='1227299' date='May 11 2011, 11:21 AM']New track recently recorded. The bass is recorded through a K&K pick up and a Fishman Platinum Pro and simulatneously through a Rode NT1A microphone. I am quiet pleased with the results (more tracks to follow when they are properly mixed). [url="http://basschat.co.uk/index.php?showtopic=135296"]Witchcraft[/url] My bass has been out of commission for a month (see above) but I am getting it back on Friday in time for a trio gig on Saturday. New bridge and soundpost. Can't wait.[/quote] Sounding great Rob! How long since you first started on upright? Some disgustingly short amount of time I expect...

[quote name='Bilbo' post='1227639' date='May 11 2011, 03:20 PM']You're all wrong. Its a kind of blue.[/quote]

[quote name='ZMech' post='1221171' date='May 5 2011, 03:29 PM']Edit: Any recommendations for stuff of a similar theme to avishai cohen would be appreciated[/quote] Hey man. I'd recommend listening to some Dhafer Youssef:

I did a Dark Side Of The Moon tribute gig a few years ago. Light show and sound FX and all that jazz. Was ace! EDIT - I remember I had to play the synth bassline during "On The Run". That bit wasn't so ace.

In light of some of the recent comments in this thread, I'd like to say my bit and then get back to enjoying sweet tunes. I think it's painfully indicative of a modern quick fix, impatient culture that many people are unwilling to accept that there simply are some things you have to understand at least a little bit to enjoy. It's not elitist to say that you have to bother to put things in a context and understand them a little better to enjoy them. It's just a fact of life. It's not fair to insult people who make an effort to be an active participant in their listening process by calling them elitist. With many art forms, or with learning a language, or with studying literature, or with countless other things you tend to get out what you put in. Yeah, it takes some effort but it always pays off. I don't really get a lot of the theory behind art, and so can't appreciate Hockney on, say, an academic level. I might think his work pleases me in some way I can't quite put my finger on though, but I won't get everything it has to give without being active about it. There are a large number of jazz albums that I thought were total w@nkmess when I first heard them, but love now. People's tastes aren't that static, and I found that having studied jazz and understood some more of what's going on behind the notes I started to enjoy the music more than almost anything else I listened to. Often the things that aren't instantly accessible are those that I end up enjoying the most. This enjoyment has branched out into other music, since I don't see music as appropriate for being divided into arbitrary genres. Additionally, you can enjoy things on different levels, simultaneously, and enjoyment on one level. A lot of rock music and pop music is designed to be instantly accessible, and not take much effort to get into. This is a simple fact. It's not elitist to say that Jazz might take more effort to get into, and it's often (admittedly not always) not motivated by snobbery of any sort. Quite often the formal study of music enhances the listening experience. This isn't specific to genres at all, just it seems that jazz musicians are more often better trained than a lot of pub rockers, simply because it is an objective fact that the majority of jazz requires a higher level of musical awareness to be able to listen to and play. The more you know about formal music theory, the greater the extent you can appreciate music -any music. A good analogy is watching a kid's TV show when you're an adult. You tend to spot all these subtle and sophisticated things that are present on an adult level, but your children might enjoy the same program for a totally different reason. Or if you didn't play cricket, you might not appreciate a fine display of batting tactically over a long innings. The musical world is your oyster, but it's not served a la carte, you're gonna have to sautee it yourself. (Tongue in cheek culinary references, I don't know the first thing about cooking)

Does anyone else read A Blog Supreme? Awesome post turned up there recently: [url="http://www.npr.org/blogs/ablogsupreme/2011/05/04/135989797/the-jazz-fan-who-built-a-machine-to-make-his-own-mashups#more"]Acknowledgement Remixed[/url]

[quote name='PeteinKent' post='1220140' date='May 4 2011, 06:59 PM']A more typical and certainly more insidious Jazz reply.....What you are implying is that I am simply not a gifted enough musician to understand the technical requirements and the complexities of jazz music. This attitude towards rock/pop musicians almost always goes hand in hand with 'the only reason any musician would not play jazz is because they can't'. Just because a piece of music is technically difficult to play and/or is very complex does not make it engaging on any level to many, if not most, listeners. Often it is quite the opposite. The Jazz fraternity is openly and triumphantly elitist and yet it bristles at the merest hint of criticism particularly from a pop/rock musician because it detests the popular acclaim given to these musicians because of the accessibility of the music they play. It is at the same time spitefully scathing about the musical hoi polloi who are not 'smart' enough appreciate the nuances of the genre and yet at the same time it cries like a baby because it isn't more loved. Well boys and girls of the jazz world....you simply cant be exclusive and popular at the same time. If the Jazzers want to sit in darkened,smokey rooms, tapping their sandled feet and stroking their goatee beards,(and thats just the women!), whilst they impress each other with tuneless noodling thats fine. But they can't be content with that! They have to come into my room where there are I am playing to a host of people who are dancing, singing and, in the words of the late great Lowell George...'Having a time' and call me a musical amoeba because I am playing popular music to the masses. Well I have one thing to say to that and it starts with a B and ends in ollox! Right now I'm off to play a gig.[/quote] Not quite sure why you've decided to post in this thread? I mean, the topic title makes it clear what the content is gonna be. None of us really care if you have some chip on your shoulder about Jazz, it's your loss. (And by the way, for someone who seems to avoid Jazz like the plague, you seem to know an awful lot about it and the mindset of people who are into it - opinions not based on actual experience or familiarity?).

Yeah, I'm using both. I know that if there is a phase cancelling effect, you can get around this by reversing the phase of one of the elements (usually by flipping it upside down relative to the other element). I mean, why bother having two elements if one is just gonna be unplugged? It's designed to be used with both. I'll admit, I've been using both elements in without worrying too much, and have never been disappointed with my tone. I might have to give just one a try and see if there is some phase cancelling effect. I'd recommend if you do find your tone is better with only one element, try using both with one upside down. General opinion is that soundwise: two elements out of phase < one element < both elements in phase. EDIT - I've dropped a few questions (specifically regarding the Shadow Nanoflex system) about this over on Talkbass, so I'll see what turns up from there.

Hey Malcolm. I'm using the same pickup (and quite similar amplification - Markbass LMII in EA Wizzy 10), and have a Fishman Platinum Pro preamp coming in next week to try. I'll be taking the output from the Shadow pre out into the Fishman pre, as that seems to be the simplest option. I can report back when it's here and let you know what that setup is like, if you want? I wish there were some specs (impedance etc) available online for the Shadow pre though, so I know what I'm messing with! Maybe I'm being thick, but can't find a list of specs on the Shadow website. In the meantime, I found quite a nice/useable tone feeding direct from the Shadow pre into the LMII but cutting the treble entirely and the bass all but a little bit. Seemed to clean a little of that low-freq mud out, and tidy up the piezo whine a bit. H

Thanks for the advice everyone, and the kind offer from Roger. Sadly, Chipping Norton is a bit of a trek for me, given I'm quite busy with work at the mo. Have placed an order for the Fishman Plat. Pro, since it seems to provide everything I need in one package (and realistically, I'm not going to be wanting to power or blend a mic into my signal in the forseeable future). Should be here next week

Hi all, Been making a bit of cash gigging, and I've cobbled enough to buy a preamp, and was wondering which you guys would recommend? I'm primarily using this for making my tone a bit more refined/defined (I use a shadow nanoflex pickup with the little bridge-mounted pre that comes with this, so don't have any impedance matching issues), but would also like a HPF to cut out some of the mud from my live tone, and a way of controlling feedback. Would be useful for when I'm not able to play though my own rig, so can dial in a tone that I can be happy with and have DI out for when I play pit gigs. I'd also like to use this with electric bass, but dual-channel capability is a bonus rather than a dealbreaker (I don't have a ton of doubling gigs, but wouldn't mind blending a hypothetical "mic that I'd one day own" with a pickup signal).I have about £200 to spare, but that's my upper limit. Have been looking at the Fishman Platinum Pro, and it looks fantastic, but am also tempted by the Headway EDB-1. Is the EDB-1 £70 better in terms of sounds/features? What else is there on the market? Which pres do you recommend? H

Ah of course, dlloyd you champ! How could I have forgotten?! Going back home on Monday, and it'll be practically on my doorstep. Will just ask them to order it in there.

Hi all, I want to buy [url="http://www.shermusic.com/new/9781883217662.shtml"]this[/url] book, but I can't find it to order online from a store in the UK. Does anyone know anywhere that might stock it? Shipping from US seems to cost more than the book itself! H

[quote name='icastle' post='1199407' date='Apr 14 2011, 01:56 PM']No worries Hector, I'd be quite comfortable to bet that there are thousands of other people making exactly the same mistake as I type this. [/quote] NL2s fixed it! Thanks for the help - you learn something new everyday.... H

[quote name='Muppet' post='1198931' date='Apr 13 2011, 11:59 PM']Check the cheap items first before assuming the expensive items are at fault. Get another speaker cable with the right connectors and try it out.[/quote] Roger. I'm nipping in to town to pick up some cable with NL2 connectors. I'm going to come clean and admit that I never knew there were different sorts of connectors on these cables! How thick am I?! Shows my roots as a double bass player - pretty clueless about amps from years of gigging acoustically.... Hopefully the cable will fit properly with the NL2s. Thanks for the help all! Will report back with tales of woe/joy. H

[quote name='endorka' post='1186651' date='Apr 3 2011, 12:38 PM']Quite! It is sometimes hard to believe it is yourself playing, but you know it is. When this happens I try not to start thinking about it too much because the magic will go! :-) Jennifer[/quote] Definitely balanced by days where you're playing so pants for no discernible reason that you almost want to give up!

[quote name='icastle' post='1198807' date='Apr 13 2011, 10:21 PM']Sorry, you said 'jack' earlier so I assumed you weren't using the speakon. Asuming you are using a speakon<>speakon lead, will both ends of the cable lock into the speaker cab properly? If they do, then the amp socket is probably defective. Chassis mounted speakons are generally moulded units, so repairing them is pretty much a non starter (and they're only a couple of quid to replace anyway). If the amp is still under warranty then get MarkBass to sort it out for you.[/quote] Cable locks into the cab properly at both ends. The speakon jack on the amp is a moulded unit, so would be easy to replace but is not still under warranty. Don't trust myself to do it, so I suppose I'll have to take it to a local music shop or someting....sigh. One other thing is that the jack on the amp is definitely a NL2 - maybe I have the wrong sort of speakon cable?