velvetkevorkian

[quote name='bass_ferret' post='45399' date='Aug 14 2007, 07:31 PM']Its good gear. Not the most transparent but unbeatable for bang per buck. Pretty well unbreakable as well. But it does weigh a ton. The only reason I switched to EBS was the weight - the better sound was a bonus - but it cost me 5 times what you are spending.[/quote] I'll second that.

And that is Paul Chambers, who was a phenomenal bassist.

First one that popped into my head was Miles' "Kind Of Blue", but double bass is used in so any contexts its a bit pointless to try to come up with one wihout further qualification.

Niiiiice. My guitarist plays an Ironbird, though its an NJ I think. I could never get on with the neckdive at all but they do look pretty badass. I take it this is for those jazz/blues gigs then?

USA Millenniums (Millennia?) and Cirruses (Cirri?) pop up pretty regularly in the Talkbass classifieds for ludicrously cheap prices (compared to what you would pay here). The Millennia are usually about $700 but they're meant to be the equal of much more epensive basses. The Cirruses are slightly more but still a fraction of their new price. To summarise- buy used.

I useit, but I can't play as fast as Wooten or the Buddha. I realised when Urb posted this Alain Caron vid my technique is actually quite similar to his (purely by coincidence) in that I use the thumb up/down strokes rather than the standard slap technique (bouncing the thumb). Thumbo, for thumping and popping on the same string, your thub needs to be basically perpindicular to the hand, and sticking out quite far. I find it easier to keep the fingers in a fist shape and just extend the first finger slightly to let it catch the string on the way back up. Not sure how helpful that is... [quote name='urb' post='28740' date='Jul 8 2007, 07:53 PM']In my humble opnion Alain Caron is the cleanest slapper on a 6 string - his tone is much nicer than The Budda's as well - he uses a pretty straightforward technique - he bascially does a down-stroke with the thumb then does an up-pluck with his index finger, meaning he can play very clean 8th notes - he then adds in double plucks for triplets and to crate different accents in a bass line, he also double thumbs - catching the string with the back of his thumb on the upstroke. Plus he does some normal slapper things like bouncing his thumb plus some left hand damping / patting on the neck. This is a great video of him playing 'Slam The Clown' which is slapped throughout - you can clearly see how he uses the alternating thumb and index - plus he seems to play very lightly - it's all a matter of training those damn fingers to do what you want them to! His technique is so clean it's not about speed just the clarity of his execution - that makes his sound so good - he's a tasteful bastard as well...damn! Cool Vid [url="http://www.youtube.com/watch?v=DkOYGlI-zoo"]http://www.youtube.com/watch?v=DkOYGlI-zoo[/url] Hope that helps Mike[/quote]

"Birth is GAS. Life Is GAS. Death is GAS. Only by achieving enlightenment can we transcend GAS and reach Nirvana." With apologies to all the Buddhists out there

I wouldn't worry about the size aspect- I know lot of fairly petite women (my teacher, amongst others, is about 5'3" with hands to match) who are excellent players. The most important thing is not to just think of it as a big fretless, is a very different instrument that does need different left hand technique. That said if you can play fretless you already have the the most important skill down- intonation. If you keep an eye on eBay you can maybe pick something up reasonably cheaply, and it would likely keep its value quite well if you decided you want to resell. There's another thread about this just now.

[quote name='kjb' post='41012' date='Aug 3 2007, 06:41 PM']It says made by Andreas Zeller for Stntor music. What's the difference between flat and curved back instruments. Also what sort of price would you expect to pay for this. Cheers.[/quote] As far as I know this is mainy an aesthetic thing. I've seen high end and low end examples of each. edit- Looks like what would be sold as a Zeller rather thsan a Stentor. If its fully carved, £1000 new and about £700-800 second hand wouldn't be out the question. Laminate, not so sure but probably £800 new and £500 second hand.

All the Zellers I've seen have had curved backs.

I have a borrowed copy of the book, it definitely sems like one to go through with a teacher- there's not a very sensible progression IMO, in that it jumps straight from open strings to thumb position transitions.

Its not scruffy, its well loved

Just fiendishly expensive, no? I'd go with Peavey for my one brand, although I'm not sure if they do strings.

I'm a big fan of budget Peaveys- I've had one as my only bass for about 6 and a half years now and its served me well despite being abused in numerous unpleasant venues.

That V8 is quite possibly the single most manly looking amp I've ever seen.

I believe any of the NS basses can be used with either the tripod or a spike.

Er... what he said. Sound advice all round.

There's also a lot of chatter about the Micro300 having various (noise related, IIRC) issues, so you might want to wait until they get those resolved before picking one up, especially if you're paying UK prices. That's a pretty badass instrument BTW.

Practice does indeed make perfect. I think I'm going to go through all my DB method books on BG- that should help my reading and my shredding

In my orchestral experience the brass section is usually pissed by 11am, but thats a different story. It does sound remarkably realistic. Salutations!

I can read pretty to very fluently on upright bass and I can get by reading on the bass guitar, although I'm going to work on that. I started out playing classical double bass in school, so it came along with that. I can read treble clef painfully, and tenor slightly better. The way I see it, there's no disadvantage to being able to read, and it makes analysing and understanding music much easier, as well as giving you the ability to jump straight into gigs; for instance I depped (badly) in a musical for one night, but I got by sightreading it and following the cello player. Tab is next to useless in ASCII format, and only worthwhile for fingering difficult things when accompanied by notation. The fact that it doesn't show rhythm hamstrings it IMO.

I really like that. The pizz strings and the big swells with gongs sound excellent in particular. Did you play that all in, or was any of it programmed/notated/whatever?

Which, upon further reading, is what it actually says in your post. Oops

Indeed. You can lose yourself in that quilt.