mtroun

My favourite bass players are (too lazy to find youtube videos for all but my favourite work of theirs is in brackets): Sam Jones http://www.youtube.com/watch?v=uU1s3IjhM3w (there's probably some great Cannonball vids out there too!) Ron Carter (w/ Miles and Joe Henderson) Buster Williams (w/Herbie Hancock and Kenny Barron)

Apologies if this has been done before, but as far as I can remember there's been plenty of threads on individual amps and cabs but no big amplification thread. I'm interested in finding out how people amplify their double bass, including pickup/mic, but particularly amps and cabs that they use and their experiences. My own experiences: The first amp I used with my double bass was the SWR Workingman's 12, this an amp of the old school, very heavy by today's standards and not really loud enough for all but small gigs. I did find it okay at the time. My current amp is the Markbass CMD 121P. It's not too hard to get a decent sound with my pickup (a realist) at reasonable volume levels. I'd describe it as warm sounding - I tend to completely roll off the low mid which seems voiced well for piezo honk, then take off the bass to about 9 o clock, adjusting the treble and high mids to suit the room. I've used the Gallien Kreuger MB112 (both types I think) at various times in practice rooms and at Jam sessions. I'd describe it as a classic for several good reasons - it's light and easy to carry and it's voiced well for double bass. It sometimes gets a bad reputation but the EQ seems well suited for getting a good DB sound and the lack of depth to the cab stops it from being boomy. For that reason it's not a very good electric bass amp. Today I tried out a Gallien Kreuger Microbass (one of the new ones, not sure which model) with a GK cab (the old extension cab for the MB112) and I thought it sounded pretty good. It's got quite a deep sound and I had to cut some bass but it has quite a lot of presence and blends well with drums. Anyway, give us the lowdown on amps you have experiences with. I'm particularly interested in finding out about Euphonic Audio and Phil Jones.

I've recently been listening to 'Life Between The Exit Signs' by Keith Jarrett. I absolutely love the combination of Charlie Haden with Paul Motian and I think it was Jarrett who first got them together.

They get better with time...

Gary Crosby is appearing in February...

http://thejazzbreakfast.com/2013/07/24/alison-brings-jazz-to-wolverhampton/ Could these gigs be within your commuting distance?

I currently have Skype lessons with American saxophonist Bill McHenry. I've also had one off lessons with various folks who it wouldn't be easy to meet in person. I have also benefitted enormously with face-to-face lessons for many years. I don't think it would have been easy to pick up the fundamental aspects of playing from a skype call. You really need someone there to observe you in detail. But then again, I've only ever had skype lessons recently and my lessons tend to be more concept driven than demonstration driven. I teach in school and learning suffers a lot from lack of contact time, the problems stemming from having to meet the needs of everyone all in a short space of time are probably more of a problem than physical distance. So perhaps skype lessons with a more experienced tutor would be more beneficial than face-to-face with a less proficient teacher. I can also vouch for Thomas Martin as a teacher, though since I don't live too far away from him I chose to have lessons in person. He's probably great for adult learners who don't have much experience with the instrument but are keen to learn. As far as classical technique goes I'm more in the beginner camp and I found him a very accomodating teacher, but also one who challenges students without overloading them.

That looks beautiful. Congratulations.

[quote name='FLoydElgar' timestamp='1382370638' post='2251342'] In what way does that take time ?! It's lesson books used by everyone who plays jazz he can start off at vol 1 and progress with transcription books... But hey what did I know [/quote] I meant it would take a long time to learn and master playing over all the different tunes that are presented in the different Jamey Aebersold books. While some of the Aebersold volumes are designed as practice aids for particular problems, the majority are collections of rhythm section backing tracks for practicing particular tunes. Some of the Aebersold books have classic status such as the Cedar Walton one, others I'm not very fond of. Lots of teachers discourage their students from practicing with Jamey Aebersold books but they have their place imo. They certainly aren't any substitute for studying with a more experienced player.

Not talent.. applied knowledge!

I think the link below sums it up quite well: Jazz can be a little confusing to the initiate because it covers such a huge remit of different music. But it also has a very clear tradition to it as well. The fact that some people are saying they dislike an entire genre of music seems incredibly silly to me. You've got to evaluate everything on it's own merits as well, which means listening! http://ronanguil.blogspot.co.uk/2013/06/six-reasons-why-i-love-jazz.html

[quote name='BassTractor' timestamp='1382299963' post='2250437'] One of the things that make Swedish prog band "von Zamla" so exciting to me, is their strong sense about exactly how much they can break conventional rules without landing in chaos. Their music tickles and amuses, and IMO is deeply musical at the same time. They confirm the rules by defying them - or rather: defying is probably the wrong word here. How about "bending the rules"? (If by any chance you're interested, look up Samla Mammas Manna / Zamla Mammaz Manna / von Zamla. They're essentially the same band under three different names.) [/quote] Apart from the whole point of the rules is that they can be bent. That's the entire history of classical music, right there, particularly the last 150 years.

I'm a school teacher: I was recently teaching some year 10s who have a mixed knowledge of theory but all of whom were singers. They were getting a bit bogged down in the theory side of their composition work and I said to them something along the lines of 'The theory is a list of options, things that might work. You are all able to listen to music and decide what you like the sound of.' I'd say the main struggle I and others have as teachers is trying to help our students connect the theory with what they are hearing.

[quote name='FLoydElgar' timestamp='1382212116' post='2249443'] Jamey Aebersold backing tracks... all 106 books... Learn them... you'll be fine... [/quote] That may take some time... Have you thought about Skype lessons? The John Patitucci artistworks thing seems quite clever. I'm pretty sure at least one basschatter is signed up. If you want me to get in touch with any bass players at Birmingham, they are friends of friends for me. There's a fine bass player studying there now called James Banner, in his final year.

The Martins are a fairly big operation as luthiers go so they should be able to slot you in fairly quickly, hopefully. A nice place to visit anyway! Tom's a gent.

If you stomach travelling to Birmingham there's bound to be someone there who could teach you, possibly a jazz student at the Conservatoire (for jazz) or a CBSO player (for classical). The very fine jazz trumpeter Percy Pursglove is also a superb bass player and teaches at the Conservatoire. He lives in Nuneaton but you might be able to see him in Birmingham. Also do you have jazz gigs that happen near your locale? If so, try and get in contact with the musicians and see if they can help you out.

Any decent violin shop. I'd ask Martin Penning who he'd recommend. Both violin shops in Bristol should be good. I'm sure there are luthiers and archetiers in Devon and Somerset. Speaking of Archetiers - Stephen Bristow lives in Somerset and makes bows (very expensive) but also sells imported bows for less money, I reckon he'd know how to do a decent rehair!

I'd go french. I started on German but the majority of teachers teach French. The difference is kind of elementary but you need to know how to control your bow effectively and if your teacher can't explain how to do it on the bow you have then you may have a problem.

I would try a mic with a wider frequency response. A pickup is really designed to get the easiest to amplify representation of the bass's sound.

I have heard good things about Yita bows - though the hair jobs are supposed to be terrible, so you'd have to factor the cost of a re hair into the price. But several professional orchestral players own them in London - use them as back up bows.

I got my Coda Revelation for £250 - second hand. Guess you have to hope that something will come up.

I've had both - prefer the Weichs, they really aren't that thin. The regular gauge are heavy going. They are superb with the bow and excellent pizz too - very dark sound compared to Spirocore. Make a cheap bass sound more expensive. I'm thinking of getting a Evah Weich A to put on my bass now actually. They blend quite nicely with gut strings as well.

[quote name='SevenSeas' timestamp='1380450516' post='2225318'] Have you found out why its made that unpleasant noise? [/quote] I'm guessing it's something to do with the material of the strings that emphasises dead spots. Or maybe the string is too low. It's strange but I kind of like the 'funky' (not like funk music) timbre, you can definitely hear in old recordings a rougher less consistent sound from bassists' gut strings. Has anyone got experience with Gamut strings? I'm seriously tempted...

[quote name='SevenSeas' timestamp='1380370155' post='2224380'] I can't see downtuning as being an issue, as I play my bass everyday, I tune it anyway. However how about on gigs? Would you expect the strings to be okay after a two-three hour set? (obviously if theres was interludes I'd be checking my tuning anyway) When you say dead notes do you mean the notes muted? [/quote] 1. Yeah it'll go out a little bit on gigs. Not the end of the world. 2. I mean khrrrrhhhh it makes an unpleasant noise. See also Velvet Garbo, which were similar, though they seemed to straighten out the more I played them.

Does David Cameron go to the festival?