mcgraham

That's looking really slick. You going for gloss or matte? It looks pretty cool with that semi-gloss-semi-matte look going on at present. Also, is that Jon's updated standard shape? If so I wholeheartedly approve Mark

Sent to those who asked for it. Feel free to ask for a copy those who may be interested. I have a standard email with the Hanon docs attached + instructions/advice to help make good use of it that I can easily send out, no trouble at all. Mark

Don't lie, you just don't want him to find out about the secret yet simple technique that [i]you[/i] use to help you play quickly in next to no time at all... I'm joking of course, that's a +1 from me. There a few things worth remembering though, at least they helped me in building up speed: 1) use a metronome and start slow with some basic exercises that hit all bases such as single string playing, string skipping/crossing etc, e.g. Hanon piano exercises (a collection of exercises intended for piano) are simple but highly effective. I can send you a copy if you wish, just PM your email address. 2) ensure you practice efficiently, whether you play fast or slow you should be playing in the same way, i.e. constantly/frequently re-evaluate your playing technique and root out/address issues that are limiting your technique (e.g. a bent wrist making things hurt/hard to move, anchoring your thumb instead of having a floating/sliding thumb making it hard to skip strings etc) 3) minimise extra/unnecessary motion as much as possible, for example, as you pluck a note with your index, the middle finger should be moved to rest on the string to be played next (and vice versa) ready to pluck the next note (as the first is being plucked) so as to minimise time between plucks. Does that make sense? A low(er) action helps too, and I find rest strokes and raking helps for efficiency. 4) stay relaxed at all times, you shouldn't have unnecessary tension in your wrist or arms (VERY IMPORTANT!) There are lots of tips that could be given but these basic ones helped me greatly. Mark

Really? From what I've heard there isn't a whole lot between the Metros and the NYCs? Anyone else got any experience with this? On a similar note, I have to confess, when I tried the Nordy's, they were very nice but no more than my very nice workhorse jazz. And mine was substantially cheaper even with all the modifications I've made to it. I don't struggle to see why boutique jazzes are popular, I just wouldn't spend my money on them. Mark

I was fortunate enough to get to try a few Sadowskys out in Guitar Guitar. Well set up, decent strings, great sound! But no more than a good or great J-bass IMO. I appreciate that there is a lot more time and care put into them than the average jazz bass, and that you're guaranteed a great playing J (or P, or PJ) if you buy one, but (for me) it's a hefty price tag for a top brand name and a well put together jazz. If you actually take the time to have a look around, you can find great jazz basses. It just sometimes takes a bit of work, that's all. Mark

Gotta admit, bit stumped as to what to suggest really. Here goes though... This is a very basic way to look at it, but look at the context of the song, i.e. what type of a piece is it? Does it feel funky? does it feel bluesy? How does it '[i]feel[/i]'? I find my note choice is often swayed by the this. If it is funky, as you say, I would suggest mixolydian as a start (1 2 3 4 5 6 b7; G A B C D E F). Then, learn which notes you naturally feel pushed towards in the song, often the root, but not always. Work out interesting ideas that take you away from (i.e. building tension, and giving a 'shape' to a solo), and then get you back to those 'key' notes (i.e. resolve to those notes), and don't forget about rhythm, dynamics and range to make your solo more interesting (i.e. adding texture and changing the 'shape' of the solo). These are overly simplistic suggestions, but it's how I got started in learning what makes a good solo. Mark

The ART is indeed fine. My [b][i]goodness[/i][/b]! It's turned the Berg into an absolute beast! The gain it shoves into it is insane. Really does illustrate how low the IP can go. I can tell that a preamp with tone shaping would be useful though, just to tweak the sound slightly, but that's just because I'm a perfectionist. I like how the sound improves as the tube warms up. Also it's educational for me to see how to use gain and volume to make the most of the tube preamp. Mark

Thanks for the input Teej, not at a tangent at all I've picked up the ART now, will give it a test drive this evening. At least now I've got a functioning preamp (I hope!) that will suffice for a time, and I'll be able to try other preamps in the future. Mark

I did indeed. It was somewhat lifeless. Also the volume was quite low for what I've heard it actually produce From what I've been reading, and from what Alex has concisely put... [quote]The basic role of a preamp is to provide a high impedance buffer for your bass guitar's output, followed by sufficient gain to drive your power amp to full volume[/quote]... I believe that a preamp will be necessary for me to maximise the potential of this rig. Mark

Thanks for advice. Very helpful, great ways to approach choosing them too. I need one for this weekend in order to get the Berg gig ready, so I've elected to get an ART Tube MP as there's one available from my local music store. Luckily this pre was also recommended to me as a good starter choice by another Berg IP112 user (past user). Honestly, I simply do not know enough about preamps right now to justify spending loads of money on one, nor do I have the time to spend umming and ahhing over which one to choose. This option is a cheap way to get started (jumping right in so to speak), nice and simple, and it's got a good response from users. And if I find it's not for me, at least I know something more than when I started and won't lose too much cash over it. Mark

Thanks for the advice Alex, I'll bear that in mind. I guess it's exciting as I've got a flat sounding and well designed cab/amp/combo, so I have the fun ahead of trying preamps. Probably best to look at it that way! Mark

Ah-hah! I can say more or less for certain I don't want a Sansamp. Whilst I used one for several years, it scooped the sound a bit too much for my liking. Chris, that's a good approach to take. Thanks for advice. Outside of 'signature sound', I'd be looking for something like the PJB bass buddy, simple controls, but with a basic level of adjustability and functions, e.g. eq, headphone out, aux in etc. I'm looking for something with extended highs, something with a bit of bite to it, i.e. to allow a jazz bass to snarl/sizzle. Something that is clear and clean, that warms the lows but doesn't get woolly and stays articulate. Mark

Thanks for that Chris. I get that they are responsible for the tone shaping, but beyond that I'm a bit stumped! I guess that's the difficulty with splitting up the power amp and preamp portion, you've suddenly got way too much choice! Mark

Hi I've just picked up a Berg IP112. I wish to maximise the tone this little beastie can provide. Which leads me to the following questions: What [i]exactly[/i] do preamps do? I have a simple understanding of their purpose, but not of their functioning. What is offered by which preamps, e.g. valve, semi-conductor, mic, instrument etc? Do those of you with experience or preamps have any reasoned preferences or words of wisdom to help direct me towards a quality preamp to help maximise my setup? Thanks in advance! Mark

I think an instrument is worth however much you're willing to spend on it. It's a combination of what the bass brings (in its sound, feel, construction, enjoyment, rewards of your passion) and how much you can afford (either disposable income or willing to scrape money together to get it). I'm parting with a few grand to get my Wood&Tronics bass, but to me it is them or nothing. I have played no other bass that feels or sounds the way theirs do. I will get the mileage out of this instrument, because nothing else that I have seen offers me what I desire in an instrument. And I'm willing to pay for that because I have a passion for music that will cause me to make this purchase worth it. Mark

Bilbo, I don't think that anyone can say 'I like everything', as there's simply too much out there for that statement to hold water. I do take your side when people say 'oh, I like lots, anything really', as it makes me think they have no real interest or sense of discernment. So in that regard I agree with you. We all have preferences, but if we didn't and liked all things in equal measure, then I would agree that shows a lack of critical awareness. I apologise for reading between the lines, and inferring meaning that wasn't there Thepurpleblob, I don't quite understand your post in the context of my post. Could you clarify please? Mark

[quote]I can see the moral justification for liking everything but, somehow, it feels more like a lack of critical awareness.[/quote] If you have a band leader, or someone who often decides what you play and when, I think that then it would show a lack of critical awareness. A lack of sensitivity to the context, or ability to recognise the context in which one is playing. I wouldn't say it shows a lack of critical awareness if you are a listener, but I reckon that's not what you meant anyway. Mark

That's a very good analogy! Like it! Mark

I can't watch this as I'm at work, but I imagine I've seen this video already. Couple of things; firstly, he [i]is[/i] endorsed by Rotosound to the point that he has been asked to demo their gear. Hands up who on here has been asked to demo [i]anything[/i]? I'm not saying that if you haven't been asked to do so that you don't have the right to say anything negative, but lets put it into perspective here folks. Moreover, he's been asked to demonstrate what is possible with their gear. I think that whatever fretbroad w*nkery is used is therefore a pretty good advert! Secondly, do you think that having watched under 10 minutes of Nigel's demo playing time (I assume it's under 10 minutes), that you are qualified to judge, or even in a position to consider this as the sum total of his playing ability? I hope that you do not. I too find it amusing to watch players slap away in guitar stores because they desire people's attention, but I don't berate them, sigh, shake my head, despair, or consider their musical ability to be 'laughable' and scorn them based on 2 minutes of repetitious slap licks in E. That is unreasonable and unfair. How much more so a player who has been asked to be the face of a demonstration, and is being paid for his time in both money, gear, endorsements and future discounts. Mark Disclaimer: I note that not all of you berated him as a player, but were objectively pointing out your dislike of slapfests. This post is merely to ask those who did to reconsider of their statements on the merits of the situation, his and theirs.

[quote]I have to be shy here & put my hand up....i really dont get Jazz. Although i think the style is complex & subversive.....i honestly dont understand it......i have tried listening.[/quote] Good for you! I'm pleased to see you've got the humility to stand up and be honest about what you think. Whilst jazz is a very broad category (as Bilbo has rightly pointed out), the more standard jazz (jazz standards etc) is quite tame compared to more avant garde jazz, but I myself didn't even get this 'tamer' type of jazz until a few years after being exposed to it. I bought the Matt Garrison Live DVD a few years back, and the tunes are really listenable, quite straightforward for virtuoso jazz in fact. But I just could not stand the guitarist when I listened to him. I was physically repulsed by most everything he played. However, I stuck it on again about a year ago and was mesmerised by some of his lines. In this instance, it definitely didn't grow on me cos I didn't actually listen to it for several years, but my tastes still changed radically from then to now just by growing as a musician. I'm not saying you [i]need[/i] to 'get it', or even get used to it, just know that you are not alone and I [i]definitely[/i] appreciate where you're coming from. Mark

[quote]I can listen to one song for weeks, months I listen to and become totally absorbed in every part on a track, I always know all the string lines, BVs melodies counter melodies, JEEZ I even spot edits.[/quote] Exactly the same. People grossly underestimate the play count on my 'most played' songs (thanks iTunes ) In essence, if something sounds good, I like it. Hence I have a very eclectic music collection. Although I struggle to find new stuff to add to it, as the music that is most readily available is material that I really don't like or connect with or any level. On a slightly bizarre note, my friend at school (went to Berklee to study guitar and music production) was an avid metal fan. Looking through his iPod there was one category for most genres, 'pop', 'funk', 'classical' etc, and a few more subdivisions for 'rock', like 'hard', 'soft', '70s', '80s' etc But his metal subdivisions were just nuts! He had about 8 or more different subdivisions for metal. I can't even name 8 subdivisions of a given genre, let alone tell you the differences between a few of them! Mark P.S. For jazz, does anyone else find it a little bit pretentious/infuriating/confusing when someone says they are into 'jazz', and they're simply using it to describe music that they can't think which category it fits in to? It's not heavy, it's not poppy, it sounds odd, therefore it must be jazz?

Has anyone seen the Michael Manring Teen Town spoof vid? It reminded me of that. Is it dubbed or is that actually someone's attempt at music? Mark

[quote]Now, I'm not saying that people can't have an opinion, but I sometimes can't help feeling that us Bass Players can be a bit..well.. set in our ways a bit? Tunnel visioned? Less willing to accept 'unnorthodox' playing techniques etc?[/quote] I semi-agree with you, +0.5 I had a long message typed out, but I deleted in favour of this. I think that there are bassists who think like that Dood, but a lot of the others think that learning new techniques is an end in itself, i.e. the technical ability to do 'x' is it's own reward, and do little to do anything musical with it. Most of these players that I've met just do it for the attention (IMO). I'm not saying that is the case here, I just wanted to have a groan about both types; the purists and the egomaniacs. Mark

+1 to Bilbo's comments. It really does take time to absorb all this information about what works and what doesn't, and some people grasp it quicker than others. Just have fun with it, and don't be afraid to try things that don't appear to make sense. Not trying things was my biggest impediment when starting; a dude at my church had said 'don't bother with modes, they're [i]never[/i] used' and another one (whom I played with frequently) was greatly unimpressed when I did [i]anything[/i] outside of the notes of a scale in a key. As such, I spent about two years staying within a major scale. Then, in a nutshell, I broke free and did many random sounding explorations of my instrument in an endeavour (still ongoing!) to find out what my instrument could do. Mark