jakenewmanbass

Lofts encounter great variation in conditions, I would not want to store a hollow wooden instrument in one...!

I believe it's the position of your arm that needs to be right to avoid buckling, check out Rufus Reid's evolving upwards fo some great advice on a relaxed and strong thumb position hand.

[quote name='silddx' timestamp='1350472634' post='1839231'] There is a simple answer to your troubles, Rob. Stop living in Felixtowe [/quote] ahem... sorry Rob... man speak da troof innit!

Donald Fagen 'Nightfly' a great album, some very tasty marcus work, not to mention Chuck Rainey, Will Lee and Anthony Jackson. The Album is bass heaven!!

Stunningly beautiful playing, and yes a very cogent argument for letting nothing, but nothing, get in the way of the music.

What, you don't buy that I've had the experience that I have...? I'm confused. I also know tons of really fab keyboard players, but I have had the experience the OP mentions. [quote name='BigRedX' timestamp='1349362071' post='1825315'] I'm sorry but I don't buy this. Surely any half-decent musician knows the difference between what needs to be played in a solo context and as part of a band. The keyboard players that I know are all fantastic orchestrators and arrangers and would never do something as crass as invade another player's sonic space. [/quote]

Many keys players are used to playing full parts alone and are not familiar with the idea of left hand voicings that fill the middle ground in harmony between bass and melody. In my experience it's advisable to have some suggestions as to what they [i]should[/i] do rather than simply telling them what they shouldn't, I have done the latter (innocently) and been met with a range of emotions starting at confusion, passing through insecurity and ending at angry indignation. Luckily I can back my mouth up and play left hand 3rd and 7th based voicings without touching a fundamental... showing them though can also be met with indignation, I guess it depends on the character. Failing all the above, take a lump hammer to rehearsal and leave it menacingly sitting within your reach on the bass end of the keyboard... oh and adopt a manic grin!

I have some slots chaps... doing skype too!!

Cheeky bump to let people know that firstly I'm based in the south east (surrey hants border) and regularly work in London, as well as the rest of the country so am really up for giving folks one off lessons if I'm in their area. I also am offering skype lessons, on both double and electric.

that bach is stunning!!

Hi Steve, sorry I have been off the radar a bit hence no response on facebook, good to see you here, good luck with the clip... Have a look around here, there are some nice folk, it's a lovely community. Jake

Kev you seem to be worrying about draughts, they generally carry a bit of moisture which is fine for the bass. It's dry heat that is the real enemy of the bass because it has a shrinking effect which can open joints and produce cracks. I once did a gig in a house where the guy had a really stunning 18th century bass, he kept it next to a radiator...!!! when I arrived at the gig he was really keen to show his bass to a 'real' bass player, I immediately mentioned the potential harm the radiator could do. Him being a wealthy, brusque businessman he brushed my assertions aside and assured me that the bass in it's 200+ year life had done all the drying it was ever going to do... on closer inspection there were some massive cracks in the ribs of the lower bout. I bollocked him for his arrogance and told him to get it away from the radiator as he had a duty as it's keeper to store it properly... he still declined, we didn't see eye to eye over it. Needless to say I didn't enjoy that encounter one bit! And I dare say neither did he.. some upstart bass player, in his house, telling him what to do with his bass.... cracks, schmacks!

[quote name='thisnameistaken' timestamp='1348602971' post='1815925'] Also, when does anyone ever have the audacity to use a whole-tone scale? I think I've heard Stevie Wonder do it once, but is that how useful it is - you can use it once if you're lucky and mega talented? [/quote] over any 7#5 chord..!

If you can play root and fifth in all it's permutations, still serve the song, and keep it interesting then you are worthy of some of the best bass playing jobs on earth... If you can't then I would suggest that your quest to play other notes is a little early. Be f***ing awesome with root and fifth before you decide to move on... (I am being deadly serious)

Thanks Sarah, the feedback is much appreciated... I genuinely enjoy teaching... I find it a great way to hone my own understanding of the information in focus.

You clearly need to be this bass's keeper for some more time... it will outlive you, especially if you take good care of it now.

learn each part independently until you are absolutely sure of them before trying to put them together.

Good luck in your new life Dave, I hope you enjoy the North... Jake

Sad sad sad... but look at all the lovely bass lines he leaves behind...! RIP Bob.

Jimmy and Carlos oh yah!!

I will try to be there again.

Ok guys, the trial is over and I shall be Pm'ing Sarah for the onward address. My overall impression is that Innovation are making seriously good strings, these Honeys were lovely and smooth and when dug into gave a nice big fat round sound. Also very easy under the bow, with a pretty even tone across the range, although as I said in my earlier post, around C-Eb on the G string was more middle and twang than I like and for that reason, and the tension difference, I am glad to be getting my Silver Slaps back on. If I was doing a pit job that had any element of arco tho I would probably switch to Honeys as for me they are a better all rounder. But a big thumbs up all round and the trial is a great idea! And of course a big thanks to you Daf for organising it.