jakenewmanbass

IMO if you are going to speak up, its better to say something that counts rather than waffle and make no point. Likewise with playing, grooving is a solid statement, it can be interspersed with something more decorative at times but it will have much more impact if it really counts. "Its better to keep your mouth shut and be thought a fool than to open it and remove all doubt" Taste Taste Taste and again Taste be tasteful say little but make it count Jake

hmmmm!! I didn't expect to find a pembrokeshire corner here!!! I went to school in Haverfordwest and lived there and Broad Haven and Little Haven and Hasguards cross and Johnston and Whitland (out a little bit) try to get near the sea there at least once a year cheers butties Jake Oh and welcome

I think what is at the heart of this debate is not really how it sounds but more the physical presence that the sound, and feel, and air movement a double bass creates, don't forget the acoustic element of the classic jazz trio, qtet etc (I'm lucky enough to have played both since I was under 13) It's inimitable, there is a place for whatever low register instrument (tuba don't forget) is around as long as its in the right hands. and bass guitar sounds great when played by someone who really swings (BTW if you can, check out Gary Culshaw from Preston he swings like a donkeys d*ck on electric) its like this, tenor sax, piano, little drums... upright is a winner in most cases but there are always exceptions to the rule. Jake

[quote name='P-T-P' post='84833' date='Nov 7 2007, 11:24 AM']At what point do you stop being a hobbyist and start being a semi-pro? Our house insurance is due up in a month or two and this seems very attractive but I gig and get paid for it once or twice a week?[/quote] If you earn money from playing, a keen assessor will see this as professional conduct whether you are pro, semi or anywhere between. Jake

[quote name='nig' post='84837' date='Nov 7 2007, 11:31 AM']+1 there... however, didnt joining the M.U. give you insurance cover automatically, I was a member for years and public liability too. anyone confirm this.[/quote] Yes indeed, there is a free (i think??? £1000) of gear cover which can be extended to the appropriate value, and the Public Liability insurance (invaluable if you are pro) is £10,000,000. The premium for that I think would be up to £600-£800 a year if bought in the open market. Jake

[quote name='Kirky' post='82567' date='Nov 1 2007, 11:17 PM']I think the best way to create a good walking bassline is to sing it first. That will give you the musical feel you want, without being constrained by any technical limitations. Then play what you sing. Knowing the theory - particularly the right notes to use to modulate between keys etc - makes it quicker and easier to play it. But whether you know the theory or not, by singing it you'll find those correct notes naturally. Well, that's my humble opinion.[/quote] Humble it may be, but accurate. what you feel and hear are the best Jake

Learn to read for sure, but also if you have an inkling of an interest, learning to create walking basslines over standard changes is the most rewarding thing I ever did. The possibilities are endless and will stretch your ears (not literally, although I think I might have just invented a cool new spectator sport) into harmonic areas you didn't know existed. Jake P.S Hi from a fellow Cardiffian

[quote name='jacko' post='62630' date='Sep 19 2007, 11:49 AM']Jimmy Johnson when he's playing with james taylor - there's usually alot going on - couple of guitars, keys, drums,percussion, horns and god knows how many backing vocals.[/quote] +1 on Jimmy Johnson, for me the worlds current master of tasteful and supremely musical/interesting bass playing

remember Peg by Steely Dan? that was a lovely cheeky slap chorus by Chuck Rainey and it sounds like a P bass to me Jake

[quote name='51m0n' post='80871' date='Oct 29 2007, 05:10 PM']That's precisely why I'm bothering. realistically I'm never going to be playing jazz, cos it just doesn't float my boat. However I do really appreciate the harmonic knowledge involved in walking well, and want to learn to be able to dip into those sounds compared to the more straight ahead funk/rock/blues type of thing that I would normally play. I use a fair amount of chromatic walk ups in the funk stuff I do as its such a generic part of the style, I just want to find some other note choices though, and be able to run through chord changes in any particular style without always resorting to the root note on the one.[/quote] Funk came right out of jazz so its a good idea to learn the harmonic language, [i]and[/i] it will add depth and integrity to your groove playing. Remember that James Jamerson started out as a club double bass player doing jazz in the late fifties which was the source for that wonderful chromatic approach that he used to great effect on all the Motown stuff. He was the original upright player that took up the electric when it appeared Jake

If you can get hold of one GT67 by Groove Tubes have always done a good job for me Jake

[quote name='subaudio' post='76334' date='Oct 19 2007, 08:56 AM']Hi Jake, great post, I think I need to adopt your standard reply, even playing electric bass in bands there is always an issue with the drummer or guitarist or both trying to drown out the singer, never could get my head around why a musician would want to do this. Thinking back to the rehearsal, the vocalists were also struggling to be heard, the culprit i feel is again the electric guitarist (no drummer at the mo), I'll have a word with him at the next rehearsal.[/quote] Hi Sub, the reason in my view musicians would want to do this is primarily one of ego which really good bass players, by their giving gesture of support cannot afford to have. That is also why so many bass players are producers because through said lack of ego, they have the ability to listen to the music for the [i]sake [/i]of the music. In my experience we have good ears too. Ultimately though its about the individual and when you get a band full of people with a good perspective on the music its to die for (I've been lucky and have been in some) I'll give another quote which happens to be the best compliment I was ever given, Picture the scene.... I was in a dingy little pub in deepest darkest Kent working really just as a stop off to go across the channel for a couple of weeks in Germany, playing a mixture of Jazz and blues with a great Piano Man TJ Johnson (now hot on the London and European circuit) we were playing for beer and food and somewhere to sleep but nevertheless the audience were up for a party and we had a rocking good time (Pete Cotterill on drums, now sadly departed, one of the finest musicians I ever encountered, such a character he even had a Radio Four programme dedicated to his life) At the end of the gig this odd looking guy comes up and starts wittering on to us about being a local composer (we thought he was going to be a boring punter but he turned out to be really nice) he made little comments to all the band which they all seemed to appreciate, then he turned to me and said, "and you, what makes you a good bass player is, you play great lines and you've got no ego" I was dumbstruck, his sincerity was obvious and never before or since has anyone said something so positive and insightful to me. I will remember it forever. Hope you're still awake Jake

I'm going to try to remember a quote i read by Billy Higgins (Jazz Drummer) it went something like this. "You're supposed to make love to the drums not rape them, all the best horn players listen really hard to the bass, so you're not supposed to drown it out" If more drummers took this simple bit of advice then the bass players down the generations since these type of drummers were around (although to be fair some still are, especially Americans) would have had less ball ache about being heard. And the dynamic range of the music being played would have been wider (LOUD [i][/i]and [i][/i] quiet) which in turn is more interesting, exciting for the listener etc etc..... I've been told to turn up all my working life. I always reply "No, you turn down" Jake

You can get a good thumpy walking bass sound by palming the strings near the bridge and plucking with the side of your thumb, not exactly a DB sound but produces a good feel for swing

More than happy to be on your list as it were. I'm in the south east but if theres money I'll travel, or any you might want covered in this area also. I play double as well. Jake

[quote name='Johngh' post='74503' date='Oct 15 2007, 11:18 AM']I had an Alembic Mark King and the neck was always on the move, I spent more time setting it up than playing it, so in the end it was sold. I've just had my Headless 6 made by Jon Shuker, and its brilliant, its the cleanest sounding bass I've ever had. I've got a Sei 6 as well and the Shuke is better than that. I would also say that the Shuke was well over a grand less to have made, and trust me, there is no difference in build quality. They will both be at the next Basschat bash whenever that is ! Then you can all judge for yourself.[/quote] I have to say I have never encountered a Shuker but he comes with high recommendation here so I would take that as read. I'm sorry to hear you weren't happy with your MK. As I said mine is perfect for me, I do agree each to his own Jake

[quote name='Alun' post='74168' date='Oct 14 2007, 03:41 PM']Hi Phil. On paper a shuffle and swing look kinda similar as they both involve triplets - dividing the beat into three. So a bar of 4/4 is counted as four sets of three - 123, 223, 323, 423 or 1 and a, 2 and a, 3 and a, 4 and a. The shuffle rythm is the stereotypical Status Quo grrove - dun -der, dun der, etc played by hitting notes on, as you say the downbeat and the third bit of the triplet so.. ONE (and) A, TWO (and) A, THREE (and) A, FOUR (and) A Often you'll hear it with the downbeats quite short and the "A" quite long which gives that du-duuur, du-duuur feel With swing, the idea is basically the same except the notes are played for their full value, so with "one-and-a",you would make the "one" last until the "a" rather than cutting it short. Regarding the metronome, if it's clicking quarter notes then it doesn't really suggest any feel/groove just a pulse. If your playing a quarter note scale, what will make it sound different is how you are subdividing the beats in your head. Weird as it may sound, counting "one and a", etc will make the quarter notes "feel" different to counting 16th notes ( one e and a). And now, the 2 & 4 idea. The idea of this is to give you the backbeat ( the hi hat in jazz, or the snare in rock, blues, etc) and leave the responsibility of the downbeat to you. I find it really helpful for swing and straight grooves. The trickiest bit is getting to hear the metronome click as 2 & 4 not 1 & 3. Easiest way is to start your metronome at about 50bpm, and you'll no doubt hear it is as the downbeat.. Click two Click four and so on. Count along like this until you feel comfortable and then drop in a bar of three before returning to four. The click will now be on two and four... Click two Click four, Click two Click, one Click two Click and so on Hope that helps. Cheers, Alun[/quote] Great reply Alun, from a fellow welshman. Jake

[quote name='bassicinstinct' post='74433' date='Oct 15 2007, 09:01 AM']Pliot error. [/quote] I must admit to being pretty short fuse on getting a good sound but the amps I have used SWR, Eden, Polytone and Alembic (pre amp) made life very quick to dial up exactly what i wanted. I did fiddle, honest guv... Jake

Save up and custom order an Alembic direct from the US. you will never play a better bass in your life (IMO) Jake

i totally agree I have a 5 string Alembic signature series and playing through several ashdowns I struggled to make it sound anywhere near as good as it can (its an awesome instrument) I think they are totally overated Jake

First question: where are you? there is a master luthier in Greenwich called Roger Dawson who is genius at achieving the best results with any bass. Oh, and he's very reasonably priced. The things you have mentioned: bridge, soundpost, strings etc [i]will[/i] make a difference, especially when done by somebody like Roger. He's completely rebuilt basses I've played and worked on all my instruments. I cannot recommend this guy highly enough he is an absolute master Jake

[quote name='Marcus' post='73657' date='Oct 13 2007, 06:55 AM']I've got some lessons booked with a local young player, who's a strong technically. I've very quickly realised that just treating the DB as a big Fretless Bass guitar isn't going to work ! Learning Double Bass, will essentially take me back to basics, and make me more hungry for the theory and technique. Thanks for the advice Mark[/quote] sounds like you have a healthy approach to learning! best of luck with it Jake