jakenewmanbass

easiest way to learn the key sigs is via the cycle of 4ths for flat keys and cycle of 5ths for sharp keys as you simply add a flat or a sharp as you proceed around the cycle. eg: http://www.google.co.uk/search?q=circle+of+fifths&client=safari&rls=en&tbm=isch&imgil=YEf1TcWTJgB3mM%253A%253Bhttp%253A%252F%252Ft1.gstatic.com%252Fimages%253Fq%253Dtbn%253AANd9GcTHf5Yo0ZaasILFnryVLODCry39nXyymURRAsNprEUkfElMlBZV%253B1913%253B2105%253BDkwli4w2RpPgYM%253Bhttp%25253A%25252F%25252Fwww.realguitarclass.com%25252Fthe-circle-of-fifths%25252F&source=iu&usg=__AEMeCozBtZT2yIZb2jsHXWwMGr4%3D&sa=X&ei=mwxHU-zBJ4Pt0gXj4oHYDg&ved=0CDIQ9QEwAQ#facrc=_&imgdii=_&imgrc=YEf1TcWTJgB3mM%253A%3BDkwli4w2RpPgYM%3Bhttp%253A%252F%252Fwww.realguitarclass.com%252Fwp-content%252Fuploads%252F2013%252F10%252FCircle-of-fifths-3.png%3Bhttp%253A%252F%252Fwww.realguitarclass.com%252Fthe-circle-of-fifths%252F%3B1913%3B2105

I had fun doing this last summer... [url="https://www.youtube.com/watch?v=eZo0FIHm-EU"]http://www.youtube....h?v=eZo0FIHm-EU[/url] Simon (on drums) made a quick vid of some of the day, he's a real card, and a killing drummer, loved playing with him. Producer was Chris Elliott, a great arranger and producer and a very nice guy to boot, always a good combo... Paddy the artist is a young New Zealander and this was his first time in a studio, he did amazingly well, like he'd been born in a studio! don't know why it hasn't embedded?

Rob, you have touched on what I had in my mind (at least in part) when I asked the question. I sound like me on just about everything I play.... so I just need to be comfy. I do however completely understand the allure...

Don't do it for no fee, you are setting the bar very low for a very hard pressed industry if you do. I have worked at Tatton hundreds of times over the years, at the RHS flower show, wedding fayres, and private functions, never for less that £150 per person. (and sometimes for much more) The 'exposure' argument is complete rubbish. The organisation you're working for will make bucketloads of money from it.... Don't do it!

[quote name='Happy Jack' timestamp='1397045547' post='2420024'] In all fairness, Jake, I bet that when you bought your Jazz in 1997 you already knew a little bit about basses and about your own preferences. [/quote] Ah you might be on to summat there!

Interesting.... strokes chin...

I'm truly intrigued as to the answer to this one, not in an accusatory way, just interested. I've had a Fender Jazz since 1997 which I love, an Alembic since 2007, which I love. An 1880 DB since 1996 which I love, and a 1920s DB which I've been rubbish at trying to sell for ages. I fancy a precision, but will procrastinate for an age before buying. People seem to swap and sell and buy ad infinitum here... is that a false perception purely because of the size of the forum? what's the deal... give me your version?

Just love Joni I'm with Ambient on the Both sides now with Vince Mendoza arrangements, and I know a few guys on the album... recorded at my favourite studio AIR.

Under no circumstances should you put your bass into the hands of baggage handlers and ultimately the hold of a plane in anything less than a flight case. There is a very high risk of it being destroyed. Throwing high value items around is like sport to handlers, it seems the more fragile stickers things have the more unwanted attention they get. I'm not a scaremonger repeating second hand stories, I've flown lots with instruments and seen this stuff with my own eyes, I've also known of 2 instances of basses being destroyed in soft cases in plane holds... neck off smashed woodwork. Hire, or get a flightcase.

It depends on how much you need your bass with you. I have flown with DB many many times, pre 911 it was hell, post, it's nigh on impossible, although there have been some concessions made recently about taking instruments aboard planes. I would hire. To answer Spencer.b classical players generally have their instruments shipped freight (by the orchestra) it's only the players of small expensive instruments that tend to carry aboard. The major problem is if you arrive at an airport and meet a difficult staff member you are in their hands, if the bass is not properly cased you're in trouble (I know of several horror stories) if it [i]is[/i] properly cased it's going to be between 40 - 60 kg, so to the States you are going to be paying a lot on excess baggage. Edit: If the budget is there you can always buy it a seat...

Best thing you can do for all muscle strength throughout the body is to exercise the core. If you have a strong and stable core all muscular movements are better supported, I've been studying sports nutrition and training for the last 18 months and have improved my own core strength, the results are quite astonishing, I'm deadly serious when I say my fingers work better. It's a whole body approach.

I think it's worth pointing out that DB can leave you injury prone, so while it's true that there is no 'one correct way' it certainly is true that risk of injury should be minimised. I've been doing this a fair old time now now and I've known a few guys get tendonitis over the years.

However you do it will depend on your physiology, the bass, your posture etc, but as Geoff says you need a slightly flatter LH wrist to avoid working those tendons over the bend. It's not critical but it makes ergonomic sense, and will increase efficiency. (This might sound crazy but being loose in the hips and knees can add a lot of support into your upper body position... it's all part of a bigger picture) Your finger positions, movement, spacing, support etc are all really good... you could maybe raise your elbow a fraction. Nice tone, feel and lines. Great! A couple of lessons with Geoff will give you real time in depth explanations of all this stuff... go for it.

[quote name='timbo1978' timestamp='1395959485' post='2408512'] I only recently found out that the reason you use the third and fourth finger together is because they share a tendon, whereas the middle and index finger have their own tendon. I was making this mistake and now include chromatic runs up the finger board with a solid hand shape at the start of any practice or warm up. [/quote] I think it's actually 2nd and 3rd that share a tendon, hence the old 'you can't lift your 3rd if your 2nd knuckle is on a flat surface' (with all other fingers out splayed) try it. if I'm right then it's purely a strength and reach thing

As a fellow teacher of quite a few bass players from BC myself, I think the obvious thing that Scott has to offer is enthusiasm for his subject, all the things I've seen him produce emanate that enthusiasm in spades. His site is a great resource.

A good man.

Ernie's great, I'm currently covering for him at London Centre of Contemporary Music doing 1-1 and group classes, nice chap too.

[quote name='joeystrange' timestamp='1392654824' post='2371124'] My first though was that the vocals were re-recorded or played with after recording. It may very well have been done that way on the night, I'm just very cynical and sceptical of anything I see on the internet. It's all a work, brother. [/quote] There's some processing no doubt, but they are real performances, the things that tell me so are lip syncing (no one is that good) and dynamics.

Made a feature on the BBC website too!! http://www.bbc.co.uk/news/health-26191713

Well you've made a great start by taking lessons with Steve, he's a hugely respected educator and a great improvisor himself as well as being a very nice guy to boot. For me, it was getting to grips with the chords, arpeggios, intervals and scales of major harmony (as in the chords of a major scale) because from there I could hear where a melodic idea existed and from whence it came, so then to introduce more complex elements like altered, diminished, augmented etc scales and arpeggios could be done incrementally as developments and derivations of those core sounds. That and tons of listening to great improvisors, my personal favourites are Bill Evans and Kenny Wheeler. You also have a world class improvisor on your doorstep, Mike Walker, who also teaches improvisation to all instrumentalists despite being a guitarist. Mike is every bit as inspirational as Steve, ten minutes talking to Mike about improvising will give you pause for thought you never imagined possible Edit: At the top of my list for improvising is real melody and real ideas, so tons of listening is really necessary, and then try to execute all those things that will inevitably end up swirling round your head.

Also Gary Culshaw (who taught both me and Simon) is in Preston, from Chorley originally but I think he's still in Preston. Gary is one of the UK's most underrated great bass players IMO, really fab groove, swing, time, harmony everything.

No probs Damon just hope you get sorted mate. I don't know Simon personally (apart from being FB friends) but we have lots of friends in common and I hear very good things about him. Let me know if you have any trouble getting in touch and I can drop him a PM on FB

Like the trailer, nice one Chris! I'm interested in this too as my secret pursuit is sports nutrition, shame we never got to meet up when I bought the M Audio!! which is doing great btw love it. I'll watch the program with interest.