LemonCello

I haven't had any experience of an Affinity, but I have had a VMJ, quite nice, good build quality, decent pick ups a good all round bass. Sometime ago I bought from here a Samick built 50th Anniversary P bass for not much dosh at all. It's been set up properly, new strings and jack socket and I can't put it down. I even took it to rehearsal last week instead of my US standard. It's a very personal thing this. I would suggest playing lots of basses, even of the same type/model and you will find one that has that elusive 'something' that makes it feel just right in the hands. Go tyre kick and have fun! LC

As a 'cellist myself I appreciate the Thomas Beecham quote! I also remember playing for Vilem Tausky - conductor of the Carl Rosa Opera, many years ago when he leaned over to the Cello section and told us that we were "grovelling like 'verms'". Towards the end of his life (he lived until he was 91), when he was still conducting us he got very short sighted. At a particularly warm rehearsal in Harlech he asked would the chap in the red jumper please open the fire doors to let some air in. He was unfortunately talking to a fire extinguisher! He was, for all that, a true gentleman and a pleasure to play for. Thanks for the link, LC

Hi Mike, I played an Epiphone Allen Woody Rumblekat not so long ago. Really impressed with it. They were circa £350 new so there should be a few good used examples for £200 or less. LC

Three piece, guitar, bass and drums plus female singer: Crossroads - John Mayer version Merry go round - Fleetwood Mac Heart beat like a hammer - Fleetwood Mac Let it be - Beatles Make me smile - Steve Harley Summer of '69 - Bryan Adams Money - Pink Floyd Ain't no love in the heart of the city - Whitesnake Knocking on heavens door - Eric Clapton A bit of variety here but they all work really well... LC

Interesting thread this. Having played 'cello semi-professionally for longer than I care to remember, I did come across a good few pro orchestral players and in particular soloists who need several large Vodkas before going on stage. I think there are two reasons for this. Nerves being one. I knew a singer who used to go on stage bursting for a pee because it gave her something else to worry about other than her performance! Funny thing stage fright. The other reason is simply to 'get through it'. A lot of professional players become jaded with the whole thing after a while, playing every weekend, leaving the family to go abroad, having to play yet another piece of music (well) that you really dislike! Personally, I made the mistake once of having two pints of lager in the interval and as soon as I sat down for the (45 min) second half I began to sweat I wanted a pee so much! I've never done that since! Each to his own I reckon! LC

[quote name='OutToPlayJazz' post='485740' date='May 12 2009, 11:08 AM']Yes, I am - And a cellist too. On the classical instruments you have to do the north-south method, as the fingerboards aren't curved like an electric. There're usually two lightly bevelled edges, making the board more angular (on three planes) than curved. I usually tell pupils to group fingers - The index finger is pretty stong, but can be supported a little by the second finger. The second finger can pretty much stand alone. The third finger works better when combined with the second for stability & the little finger again, works well combined with the third. The thumb should always be kept in contact with the neck as well. I try to get people to think of vibrato as a "cyclic" movement - Almost moving to the feel of groups of eight semiquavers (think "wa-wa-wa-wa-wa-wa-wa-wa.") This gives the vibrato a more rhythmic feel, although the speed can be varied according to the speed and feel of the music. I also try to get people to start the note first (gaining stability in the note), then adding in vibrato & making sure it carries on until the end of the note. This also gives the note more of a shape and some extra variation in texture. Vibrato can also start before the note - This gives a more urgent and musically passionate feel to the note. There's so much you can do with it! Rich.[/quote] Ah, another 'cellist! Do you still play Rich? I spent the last 25 years playing in Orchestra's, but am enjoying the freedom the Bass gives me playing in my blues band. Vibrato, like other techniques requires practice. I still use the classical technique I learned for 'Cello on the Bass, although it requires a bit more intensity because of the thicker strings. Cheers, Gary

Note JD's axe of choice...the ubiquitous Precision! Well mostly The point about Queen is, that they don't bear comparison with anyone...they were unique You don't find lyrics like those anymore and I bet some of you can recite them with ease! A moving documentary, glad I caught it LC

I bought a Korean Squier P off here not so long ago for a song. A new set of Ernie's and a jack socket and I love it. Don't think I'll be able to part with it. It just feels right in the hands and is very easy to play. I also have a US standard which is different to the Squier but not better in the hands? Play loads and buy the one that feels right. P's rock! LC

[quote name='Zach' post='448701' date='Mar 29 2009, 02:55 PM']Pretty good, shall definitely have a go at that. One thing I can't work out is what the numbers are over the notes, such as on line 39. My guess is it's some cello thing i'm unaware of.[/quote] The numbers are suggested 'cello fingering.

The Guitarist in Yuck was playing a Gibbo? Every band I go and watch these days comprises: Lead Guitar: Strat Bass: Precision/Jazz Fenders have the 'image' I guess but are also gigging workhorses. Leo got it right first time, and like BMW, the product has evolved 'slooowly' and hasn't lost it's essential mojo. LC