jakenewmanbass

[quote name='nash' post='139870' date='Feb 13 2008, 09:20 PM'][url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=250215893006"]Metal[/url][/quote] I thought the title to this thread was in Welsh.... And I'm from Cardiff originally???!!!?!?

[quote name='Thunderthumbs' post='139233' date='Feb 13 2008, 02:01 AM']Is that the one with 1st finger 1st fret, then 3rd finger 3rd fret, then 2nd finger 2nd fret, then 4th finger 4th fret on alternate strings, then repeat switching strings (e.g. 1st and 3rd on D string, 2nd and 4th on G string, then 1st/3rd on G and 2nd/4th on D) up and down the neck. Then repeat it two strings apart, then again three strings apart, etc? If so, damned good exercise that. Do it myself...but nowhere near as often as I should.[/quote] that is indeed the one. most important aspect is doing it in time. so metronome

By Proxy When I relocated South I took a job as an onsite maintenance contractor for computer companies until I settled into getting freelance gigs in my new area. (finished now thank god) I was exchanging and reformatting a hard drive for a barclays customer in bournemouth a very nice lady, when I got chatting to her I revealed that the job was a stop gap and my real job is as a bass player.... she says 'what sort of music do you like' so I listed some of the things I listen to, she seemed to know a bit so I mentioned quite a few things including Weather Report, at which point she says hang on, and left the room, a few seconds later she returned with her wedding photo (former husband) it was Alphonso Johnson (for those who don't know he was in Weather Report BEFORE Jaco) Jake

[quote name='Josh' post='138847' date='Feb 12 2008, 01:55 PM']My ears do decide what sounds right but like I said I just like it to look right at the same time, the same goes with basses, both aesthetics and tone will affect my decision, but hey that's just me and if that rubs people up the wrong way well then oh well. I'll guess that some people have looked at the videos and immeadiatly disliked the drummer because of the way he's got his kit set up, we're all turned on and off by certain things musically , be it little such as not the right grip or in some cases things such as Hi-Hats that reach above the cymbals, or in a bass perspective, small things such as if the player doe's or dosen't move his/her thumb whilst playing or to stuff like "Correct" or "In-Correct" slap technique.[/quote] of course aesthetics allowing, its horses for courses, each to his own et al. Point taken.

[quote name='Josh' post='138343' date='Feb 11 2008, 05:36 PM']Bad thing is it's gone a tad bit too far on me, by which I mean, if I hear a great drummer, perfect sound, great fills, the lot and then I see them live and his set-up is all off and his technique is shoddy, I just can't accept to liking them. I just love to see a drummer hit hard, with a nice flat set up and just making the song that bit better.[/quote] Some very notable players have "bad" (I think its relative) technique eg Pat Metheney hangs his thumb over the top, but have you heard what he can do?? I think its a shame that you let your eyes decide whats working for you, use your ears man.

Got a kit in the garage play it regularly, not well but with good feel and solid time (technical limitations allowed for) Got a piano can busk chord charts and read slowly (decent knowledge of voicings) Got a guitar so have a reasonable knowledge of chord shapes (although my harmonic knowledge is far stronger than technical ability) got loads of percussion (not bad with an egg, can keep a nice groove with a cahon) I sing (not well but I have a very good ear for harmonies and can usually pick them out better than some singers) All of the above adds tremendously to my position as the core (read bass player) of the band which I'm grown up enough to say I do very well. I'm solid, musical, dependable, not too loud, and care more about the whole sound than what people think of my abilities. There are many better players in the world than me which is great cos it means I will have a challenge hopefully until I die, preferably (although I hope not to distressingly for others) on stage. Jake

[quote name='Mikey D' post='137434' date='Feb 10 2008, 02:20 AM']I got this from a Satriani article yeeeears ago...has also helped my r/h for string crossing. Along with 'Patitucci's' spider exercise, these two helped my left hand the most.[/quote] +1 for the spider very good for even practise due to the similarity of the movements by each finger

there was a time when I'd have been blown away by that and I aspired to that level of facility (I don't have it) now I'm nearing old fartdom I'm not really reached by it. For me the balance between ability and emotion/feel is too heavily weighted to ability, urgo use for uses (not musicality's) sake I think they are all great musicians and admire their obvoius dedication, and I can see, and have no problem with why others really dig it... But not for me, sorry Bilbo Jake

[quote name='Thunderthumbs' post='134927' date='Feb 6 2008, 12:13 PM']In fact, thinking back.....the day the bomb went off in Manchester was a pivotal part in bringing about the Manchester we have today. I'd hate to say it was a "good" thing......something like that never can be, but Manchester's a much different place today to what it probably would have been had that not happened. Cheers, Pete.[/quote] Its an ill wind as they say I heard the bang (was in the garden in Middleton) some friends of mine were rehearsing in Chets which suffered some damage they were slightly deafened for a while, the bizarre thing was a hole was blown in the floor and a violin came flying through it followed by a very confused looking tutor... although he used a more conventional method of entry ..... the door. Manchester is a great city, I lived there for 10 years and it has a fantastic music scene and some of the country's finest musicians and indeed bands. Jake

I bought a bass from Beaver/Grasshopper, they were helpful, accurate and friendly and will do good deals. The bass arrived when they said it would and was perfect in every way. I wish I could find that service more often in the UK.

[quote name='ped' post='132947' date='Feb 3 2008, 12:10 PM']There is no 'limit' to a good groove. Nobody can reach the level where they cannot groove any more because they are too groovy. A groove is a feeling, something unquantifiable, natural and primal, which is why they have existed since the beginning of time and will continue forever. Peace out[/quote] exactly

Before you rant on about how the whole thing needs to change, make sure you are at the pinnacle of achievement with what you've got. Stand on the shoulders of giants to push boundaries otherwise you sound like you're desring change for changes sake. and dare I venture because you are bored with what you do? Are you any good? Qualification: lest I cause offence those questions are rhetorical and NOT, i repeat NOT, personal. (cos I don't know you) Jake

[quote name='chris_b' post='132537' date='Feb 2 2008, 12:59 PM']In these 2 links the bass and drum aren't locked together, they're superglued!!. Of course, it's New Orleans funk. [url="http://www.youtube.com/watch?v=FKsjJnJue7I"]http://www.youtube.com/watch?v=FKsjJnJue7I[/url] [url="http://www.youtube.com/watch?v=pSKIHXM8rxQ"]http://www.youtube.com/watch?v=pSKIHXM8rxQ[/url][/quote] great grooves

"What's that all about then"... THIS!!!! [url="http://uk.youtube.com/watch?v=gaoYu6jOoug"]http://uk.youtube.com/watch?v=gaoYu6jOoug[/url]

[quote name='chris_b' post='131761' date='Feb 1 2008, 09:57 AM']It seems to me that this doesn't mean try to play the same beats as the drummer. It is a short-hand for listen. Listen to what the number needs, listen to the drummer, listen to what the rest of the band is doing. Play TOGETHER as a unit not 4 (or however many) individuals. Players in good bands have an invisible link between them that "bad" players don't have, it's called "feel". It is very important for the bass and drums to "fit" or get the "feel" right but guitarists, and all the other guys, have to do it as well.[/quote] this of course is generally true, the specific question was 'what is locking in about?' to which there have been several really good answers, but as Chris points out above that is not all you have to do, It involves, as he said, playing the right thing for the group and the music, something which was also mentioned by Bilbo. good advice all around I think. Jake

[quote name='daflewis' post='131280' date='Jan 31 2008, 01:30 PM']+1 for that and, if i may say, very nicely put too! another way to look at it is that all drummers "place" things differently in the bar - it's what gives different drummers a different feel - (perhaps most famously Steve Gadd's lovely "late" snare back beat) try listening to "Chuck e's in love" by Ricky Lee Jones but if you tried to place the "one" say, with the kick and your 16ths with a pushy high hat and play 2 & 4 with a late snare it's gonna end up sounding a bit of a mess so the idea is that you take your time more from the kick and not bits of everything.... now i'm going to qualify that statement because different styles require a different approach- it's stays pretty true for styles with fairly straightforward basslines like rock and latin, however if you're a funk 16th note man then, of course, the high hat becomes more important and in fact in jazz it's the ride cymbal that you tend to listen to. i think a lot of it is just down to experience and as others have said - really get to know your drummer. :wub: uh... maybe not... all that said, if you can make your drummers kick and any note you place with it sound like one note you're well on the way! [/quote] Of course you may say that I put something nicely , and if I may reciprocate your observations were equally eloquent. 'Chuck E' is one of my favourite rhythm tracks of all time so I'm with you on that. where Jazz is concerned I was lucky enough to play with Steve Brown quite a lot up in Manchester, his ride cymbal is a joy to get on and I couldn't agree more about 'making it sound like one note' Jake

In my mind locking in with the kick is about sharing space in the music, as you are both producing a similar frequency sound, often together, so its good to marry them up. If you aim to allow the percussion of the kick sound to be the absolute front point of your note, ('cos the drum envelope obviously closes almost instantly) then the developement of your note however short takes place after the drum. If you can achieve this with a good degree of consistency it will sound great. If you can achieve this with near perfect consistency then with the right moves you could end up being a very highly paid player. Its almost a science but with an enourmous amount of feel chucked in Jake

20th Feb Out with Yamit again, at the Regal Rooms upstairs in the Distillers, Fulham Palace Rd, Hammersmith. (just down from the Appollo). Working stuff up for her upcoming album find her here: [url="http://www.myspace.com/yamitmamomusic"]http://www.myspace.com/yamitmamomusic[/url] There will be a few acts on, its a good night and a great networking place Jake

My Warwick thumb is neck thru, my jazz is bolt on, my Alembic is neck thru, the Alembic is hugely more resonant than both the other two but I love the sound of all three for individual reasons.

I have a 78 Jazz with Symour Duncan pick ups (on when I bought it) they have 3 little white switches presumably to boost signal at various frequency ranges. I have recorded with the bass, but have a more major project coming up and would like to eliminate the sound. It could be an earthing issue as the sound almost disappears if I hold the strings, or if I touch the metal strip where the controls are.I know nothing about circuitry and would appreciate any suggestions from anyone that may have an idea (is it common etc...) Or failing that suggest somewhere I could go with it (I'm just outside M25 south west of London, am in London working a lot) Help would be greatly appreciated Jake

Judi Dench came to a gig I was doing (but it was a christmas fayre so she wasn't there to see us) I played at a party for Prince Phillip

[quote name='zero9' post='126882' date='Jan 24 2008, 01:23 PM']You can get Spirocores for £93 from Thomann. I got some 3/4 size Spirocore 'soft' (English for the German 'Weich') tension strings to replace my Pirastro Obligatos. The Spirocores produce a slightly brighter sound than the Obligatos, which you'd expect for a steel core string. The Obligatos are an excellent choice if you want a more 'organic' sound. Playability of either will depend largely on how well your DB is set up. The Spirocores settle in much quicker than the Obligatos (which probably take a couple of weeks or so). Tension-wise there is little to choose between the two, however, I found that the Spirocores are easier to play moving up into the higher registers. Hope this helps and good luck with getting your DB sorted. Wil[/quote] Well spotted for spirocores below £100, thats a breakthrough Jake

Hi Mikey, why do you specifically want spirocores? have you considered something a little less taut? possibly nylon with a steel winding (much easier on the fingers and in my experience allow the bass to speak a little more) OR are you learning arco? in which case the thomastiks would be a good middle ground. you'll be lucky to get spirocores for less than £100 wheras the Innovation silver slap are £67, at least last time I bought them they were. feel free to probe further Jake