jakenewmanbass

a fascinating thing cheers

I don't really go into shops very often but the bass players I encounter teaching or depping to or from, going to gigs, or just knowing them are in the main nice guys. I do think it lends itself to bass to posess certain personal qualities and i think one of them is a level headed easy to get on with attitude. I'm possibly using my arse to speak with here. just a thought/fart.

[quote name='bilbo230763' post='144939' date='Feb 22 2008, 12:05 PM']My ego's smaller than yours... [/quote] pissing myself at that

[quote name='cheddatom' post='144843' date='Feb 22 2008, 09:38 AM']Maybe we could talk more about the wiki though, I think it's a great thing and should be developed more. It needs the members to contribute though, we can't just ask the mods to do it all for us.[/quote] agreed, for me the point of the thread has ironically been hi-jacked by the OP

You clearly have an axe to grind on a subject about which I know nothing and further have not an iota of interest. The main reason for the low level of my interest is the nature/method of your expressing your opinion, you have literally set my mind against your plight with your combative, abusive and totally unnecassary abuse, and I in my posts have shown myself to be a person prepared to speak his mind on unfairness and in defence of those who are attacked without apparent immediate cause. You have no idea how to conduct yourself sir, and therefore, given the tangential approach you give to responding to reproach I can only assume that my words will have as little impact as a fly on a windscreen. I will not respond further Jake

If you use the side of your thumb while resting the pinky side of your palm aganst the strings near the bridge you get a great thumpy tone.

I just have to say that I think your comment to Ped was neither warranted nor proportionate to what he said. And in your fervour to, apparently, be as abrasive as you can summon, you managed to denigrate someone else (Kiwi) who had not even spoken on the topic. Peds observation was a viewpoint, something it appears you believe that you are the only person to have validty in holding. Please refrain from insulting people in this way. Its ugly and not commensurate with the tone of this community. And for the record the first time I read an example of you being so abusive, I decided to keep my mouth shut to give the benefit of the doubt so this is not the first time. Jake

jeysus that man could groove

Great glad to be of help its a long road but the views are beautiful

[quote name='TheRinser' post='144301' date='Feb 21 2008, 12:12 PM']Just a quick update... Lovin' it! Spent last night trying to play along with some jazz standards and some fingathing tunes (awesome instrumental hip hop band, just EUB and decks, UK based too!). I'm actually finding 4 finger technique easier than the 124 double bass thing. Hand strength has still got a long way to go, and intonation, but it's great fun. My back aches a bit. If anyone fancies giving me a few pointers that'd be nice... Or generally any info about standing position relative to the bass. Tried to find some stuff on the net but doesn't seem like there's much about... Cheers, Tom[/quote] Hi Tom, stance: feet just wider than shoulders, knees slightly bent (think boxer) left hand: you may be fine using 1234 on an EUB you would be less likely to get away with it on acoustic (although some do) I would urge you to persevere with correct LH technique though (you may want to play double at some point) upper register: is actually known as thumb position as the orientation of your hand changes from horizontal to downward pointing (ironically "up" the neck) where your back is concerned, think of it like this your bass won't get injured standing but you could so adjust its position to suit your posture. avoid "holding" your body in any positions that create muscle tension as over time they will tire and ache. I'm doing my best to explain in the written word, but if you do it wrong I'm not there to say "nearly, thats it like that" etc one lesson on posture and LH positioning would last you a month, so I would say do it, save yourself the pain of undoing bad habits. Hope thats useful Jake

All good Guys, the best approach I ever heard for how to apply the right kind of pressure with your fingers is to visualise a violinist the way they hang their fingers off their fingerboard using a hook shape by curling their fingers, if you open your hand and don't squeeze (hence me being so vocal about the vice) and use the natural weight of your arm to "hang" your left hand (although really its slightly pulling back) you can create a really powerful stop (fretting to electric players) with the weight of your arm. the net result of this is a tremendous freedom of movement in your whole arm throughout the range of the instrument. Linus, If you are serious about lessons, I'm between Aldershot and Farnham and can throw a stone into Surrey from my house so PM me if you're interested. Best of luck with it Jake

[quote name='Linus27' post='144444' date='Feb 21 2008, 03:34 PM']Thats my weak spot also, the lack of strength in my left hand for fretting. I can't wait to get my vice like grip as time goes on. You mention that your back is aching. I am also finding this. I also find that my arm muscles are pounding after playing. Its a very physical instrument to play which I am loving. I really think the whole physical side of playing upright bass is under estimated. I would also appreciate any guides or tips on playing.[/quote] Vice like grip is NOT i repeat NOT something you need. vice like has a stiff and un yielding nature to it which can lead to over working muscles and reduced mobility. What you need is efficiency of pressure, using the physical attributes you posess and fluidity of movement, which can take a little getting used to. If you are serious about getting any good on the instrument then have at least a few lessons on left hand technique, the positions and movement. It really is nothing like Bass Guitar (I've been playing both for over 20yrs) You may well get some people responding to this post saying you can get by without training, this is true but who wants to just get by. You can save a whole heap of time by gettting some basic advice which will set good habits in place and immeasurably enhance your progress. also If you are getting pounding muscles and sweating, you may well be over working without need.

[quote name='Steve Lawson' post='144376' date='Feb 21 2008, 01:46 PM']not been there, but it does have a good reputation, has done for years. I've done masterclasses at Salford Uni, which looks to be a pretty good place to study too - as a side point, here's the story of my audition there when I applied in my teens to study there... [url="http://steve.anthropiccollective.org/archives/2008/02/bluffing.html"]http://steve.anthropiccollective.org/archi...2/bluffing.html[/url] Steve[/quote] I was the bass tutor at Salford from 1996-2004 Its a really good course and has some of the inspirational people I mentioned in my earlier post. The Bass tutor there now is Ollie Collins (who I taught there some years ago). He's a great player and from what I've heard is doing great as the tutor there. Another hidden gem of Salford is Robin Dewhurst head of music, again a great player, and a wonderful arranger. I still do the occasional gig with Robin he is a joy to play with. Lovely touch and immpeccable placement, IMO two essential qualites in a pianist. Jake

[quote name='timloudon' post='144352' date='Feb 21 2008, 01:25 PM']This is an interesting thread! I'm currently studying at Leeds College of Music, which I'm surprised to find hasn't been mentioned yet- maybe I chose the wrong institute. I'm studying what's called 'Popular Music Studies'. It's a combination of group and individual playing with modules on the industry, cultural theory, experimentation, journalism etc... I'm actually just about to start a case study on the 'validity' (a word used very loosely) of the study of popular music at HE. It's an interesting subject. I think the issue of whether they are worth your time is entirely down to the individual. I've found that the main benefit of being at an institute is meeting other musicians/producers with which to work. I know that these are the people who I will be conducting work with later on in life. I've met plenty of people who I know are going to be incredibly successful. It's also shown me many different pathways to follow in terms of career, giving me a glimpse of a world i didn't know was out there. Also, as has been mentioned before, it gives me many transferrable skills. However, there are of course downsides to this kind of education. It's costing a LOT of money, something that incidentally, can work as an incentive. I also know very well that having a degree in music will by no means secure a job within the industry. I agree that it's not a way to guarantee that you'll be a good musician. I think that it's all what you take from it. Lots of people have already made this point, and I totally agree. What's everybody else's thoughts on LCM? Has anyone else studied there?[/quote] Not studied or taught there but many of my colleagues from the North West scene (when I was up there) taught there. Notables like Tony Faulkner (arranging genius and drummer) Mike Walker (world class guitarist and improvisor) Les Chisnall (my favourite pianist) Nikki Iles (great pianist now a resident of the south) the history of the place speaks for itself and some really good players (some of whom are doing very well) have come out of there.

Beautifully put. [/quote] Thanks Dave

I have said this before so excuse me if you've read it already. I taught at a university and a few FE colleges. There are some good practices and some great inspirational people in some of those places. There is also some unmitigated sh*t being droned on by people who can't cut it in the professional world. And everything inbetween. None of which is the point. The point, in my view is this: Great players, performers, writers, engineers, producers etc etc will make it with or without music college. The reason they are singularly brilliant places is because it gives those individuals time to get their sh*t together, un-molested by the ravages of commerce, mortgage, bills etc and removes them from the distractions of "real job" needs and wants. Everybody else will be rewarded to the appropriate standard of their personal achievement, musically or otherwise. Jake

The band I regularly gig with has a drum hardware case made of a really tough nylon with heavy duty zips (protection racket I think) it easily holds 5 mike stands 2 speaker stands 1 guitar stand 1 trombone stand (although I think it would sound better if stood on) and a few small prop stands quite heavy though 2man lift really although I can just about manage it alone. But its a great bag and has been used for about 150 gigs a year for prob 4yrs now

[quote name='dougal' post='143492' date='Feb 20 2008, 12:38 AM']Hey, bassbloke. I've been having double bass lessons from Ian (http://www.ianbass.co.uk/) who's in Chessington (I'm down the road in Surbiton). He's a really nice guy & knows his stuff. I would suggest having a lesson, so you can at least have a crack. He'll point you in the right direction with basses too. He suggested:[/quote] +1 for Malcolm Healy he is indeed a nice guy and seems to always have a stock of decent instruments around.

[quote name='queenofthedepths' post='141754' date='Feb 16 2008, 11:02 PM']If you can set your metronome to 9:8, try this one: [font="Courier New"] G 4-3-----2-1-------|------------------|------------------|------------------|------------------|--------5-4-3-2---| D ----4-3-----2-1-4/|5-4-----3-2-------|------------------|------------------|--------6-5-4-3-6\|5-4-3-2-----------| A ------------------|----5-4-----3-2-5/|6-5-----4-3-------|--------7-6-5-4-7\|6-5-4-3-----------|------------------| E ------------------|------------------|----6-5-----4-3-6/|7-6-5-4-----------|------------------|------------------| [/font] And then repeat up one fret until your hand falls off... It's much better/worse on 5-strings and ERBs Sorry if the tab's not very easy to follow![/quote] you can't exactly [i]set[/i] a metronome to 9/8, you can count nine quavers to a click or you can count in three and subdivide triplets into each beat (or whichever configuration of groups you desire in 9/8)

Welcome Noel, you'll find a host of friendly, helpful and informative people here. And if you're interested in the bass you're going to hear lots about it. Enjoy Jake

Ray Browns Italian Bass

[quote name='hatori' post='143321' date='Feb 19 2008, 07:32 PM']Michael Manrings Zon Hyperbass because it is the ultimate fretless for me. Just listen to 'The enormous room'....beautiful.[/quote] Just listened to it..... It really is very beautiful!

I've earned a living from playing my bass since 1989 supporting a family of five for the last 12. At first I felt good if I earned 12k now I couldn't really manage with less than 35k (gross). I have taught at a university and a couple of colleges but the vast majority of my income has come from gigs and recording. I had one spell of working in IT when we moved south (from Manchester) but that was just until I (and now we, my wife is also a musician, just started back, kids all in school) got established to pick up freelance work in my new area. Thanks to my wife earning again I now don't have to take everything I'm offered and I can spend a bit more time on projects I really enjoy. I probably could have earned a lot more money had I got a conventional job (I will work very hard) but I have always valued my personal standard of happiness more than owning stuff like a flash car or the whole material trip. The one thing I feel really lucky to have had as a perk is travel. The only place left on my list of where to go is Australia. I've been to every other continent (not counting the really cold ones) and been to more than thirty countries mostly gigging. For me its all about balance, happiness with providing. Jake

[quote name='Thunderthumbs' post='142707' date='Feb 18 2008, 08:01 PM']Damn! :blush: Oh well, how about playing with Roy Wood being watched by Noddy Holder? Or an after show party with Fish singing with us, and "Uncle Peter" (as in Woof, Bark, Donkey) from The Smell of Reeves and Mortimer playing drums? Please let me win [/quote] Its a close one; How about playing for the McLaren racing team Ron Dennis' 50th birthday and one of the guests Mike Rutherford (genesis, Mike and the Mechanics) got up and played my bass obviously Mika Hakkinen and David Coulthard danced to my groove too I played in a trio with Brucey accompanied John Inman felt the draught of the tiller girls as they whizzed by ok so I'm scraping now... Damn