jakenewmanbass

Love it or hate it (I like it personally) this is a great rendition. Just shows how impact can be felt if things are done simply but 'right' It has dynamic control, pace, poise and accuracy and so it sounds good 2 voices 2 instruments...! http://www.youtube.com/watch?v=MLrC7e3vSv8

JJ is a dude, a world leading bass player, and a total gent...

I'd echo what Ben says about using arm weight, not only that though, arm position (I'm fairly sure Ben will agree) is also really important Kev the reason people look so relaxed in thumb position is because their posture and arm position supports easily executed finger movements. If you can get the right energy into the fingers they will stop the strings really well, if not, and energy is being lost in other places, the notes will sound weak and puny. It all starts in posture and positioning in my view and that's quite difficult to get across in text, so as usual getting some up close and personal advice is advised.

ha ha! I belive Osian spends some time over in Prague, I have some friends out there both very very fine saxophonists Andy Schofield and Suzanne Higgins, They have both toured extensively with the Andy Prior orchestra and Andy has worked with among others Kenny Wheeler and George Michael... might be worth putting them in touch! change yer string dunce!

[quote name='TimR' timestamp='1391779501' post='2361186'] And read that thinking of me with a gentle smile on my face and a pint in my hand. [/quote] I've often said that text leaves a lot to be said... and I'm pretty sure that I can come across in ways in which I never intended. I take your point But as was once said to me, 'it's more important to be kind than right'

[quote name='TimR' timestamp='1391777061' post='2361153'] It's not a slight disagreement, it's the assertion that we're all heading into a doomed blind alley. Which is plainly nonsense. [/quote] Ok I'm going to say it out loud, Tim you're clearly educated and well informed on many subjects and I find accordance with things you say on many occasions sometimes not... this is the way of things. But for a person so clearly wedded to the idea of sharing your knowledge and insights with others it surprises me that that potential pleasure eludes you so frequently because of the manner in which you deliver your apparently all seeing all knowing sermon from upon some high place which no other mortal has achieved. Now, in saying that, I'm pretty sure that it's not your intention to present in such a manner, but hear the very tolerant gentle bass playing voices around you friend and realise that sometimes your approach is not finding favour according to the laws of getting along with people and delighting in sharing information in a rounded form of conversation... a forum if you will.

Dad and flyfisher, it strikes me that some people, when faced with the apparently abhorrent if not terrifying notion that not all peoples on Earth agree with them, get their knickers in a twist.

[quote name='Bilbo' timestamp='1391764674' post='2360960'] It doesn't matter nearly as much as you think. I have been playing for 34 years and rarely see any parts that require either technique as an absolute requirement. It is the sound of the phrases that matters not the means by which you achieve them. As for disabilities, look up som youtube videos od Django Reihnardt. He only had two fingers on his left hand (the other two were fused together in a fire and were useless) and he ripped s*** out of his jazz guitar, defining a genre in the process. Your disabilities shoudl not define your ability to enjoy playing, they just change the nature of the problems you have to solve when learning how to make the noises we call music!! When I taught, I used to show people who were agonising over this how fast they could play with just one left hand finger and most people are surprised at how sophisticated your lines can be with only one digit. [/quote] verbatim!

Thanks for that Garry

All the advice here is good so far, so the only message I would repeat is the Fishman plat pro pre amp, it has phase cancellation which will eliminate feedback in the vast majority of situations, and the 5 band graphic seems to be balanced just right so that you can compensate for any room/amp issues, and get as near to an acoustic sound as the rest of your gear will allow. The reality of amplified DB is it's never going to sound exactly like the bass itself so you need to find a sound with which you can work.

In fact Steve Swallow is one of my favourite bass soloists, as he eschews chops in favour of beautiful simplicity. For that he gets my vote, more musician than gymnast.

[quote name='jazzyvee' timestamp='1390569301' post='2346963'] Fantastic player, I had a chat with him after a gig he did with the Impossible Gentlemen. He's a really nice bloke too. Jazzyvee [/quote] Ah Mike (Walker) is a very good friend, done loads of playing with him, he was very excited to tell me Steve was doing his gig, and then Steve Rodby too... Lucky Mike although fully deserving of the company being a world class player himself!

A great great player!

Most of Jimmy Johnsons work, tasteful understated, always putting the song before the playing. (especially with James Taylor) Agree with Bilbo about Steve Rodby too, that Metheny period was awesome, Still life talking is still a massive fave for me

[quote name='4000' timestamp='1390200705' post='2342451'] I already do. ;-) [/quote] Excellent work sir!

[quote name='4000' timestamp='1390162767' post='2342222'] It's at times like this I'm glad I've never been a hired gun (well, for anything other than me being chosen for what I already bring to the table)..... [/quote] I take your point but wouldn't you love to own a small business that could buy you alembics and make them tax deductible

[quote name='lozbass' timestamp='1390152931' post='2342007'] sounds eminently sensible - is the MK to be advertised on here? Think you'll be pleased too with the Series (when the time is right) - may sound weird but another step-up from the already stunning Sigs. [/quote] Now now loz I said it's for sale, I didn't say anything about advertising it as such Seriously though, I may try it out on here, although I might try a commission sale instead as I'm sadly loads better at buying gear than selling it!

[quote name='4000' timestamp='1390001793' post='2340548'] You're selling it? Can only ask why......and say I wish I had the money. [/quote] I'm selling for a bunch of reasons. I'm recording more these days, and believe it or not I encounter snobbery about it all the time, people want things they are used to. Now don't get me wrong I'm still a devotee, but I can't afford at this point to keep so much money invested in what is for me a tool of work that doesn't produce a good return. So my plan is to sell this, arm myself with an arsenal of studio/producer friendly basses, then when I have recovered my 'pleasure bass fund' (which I can do by selling an upright that I will have no use for at the end of 2014) I will buy myself a second hand series Alembic.

I have an MK sig deluxe balance K It's for sale! It's to die for...

[quote name='walbassist' timestamp='1389942792' post='2339712'] I assume "Pre-amp out" from the Briefcase to "Line In" on the PB should do it? [/quote] Doh!

I've just got rid of my large rig in favour of my PJB Briefcase whose sound I love and want to extend, I'm looking at a PJB PB300 powered extension cab, are the two compatible? the bumf suggests it can be used to augment any combo but then none of the promo materials feature the briefcase, I realise I can ask the retailer I will buy from but it's 0019hrs and I'm an impatient sort

V sad

There are MU session rates per three hour session. Most people charge more than them but they act as a minimum to go by. Discuss it with the producer. I always say what I want if there is a major production budget, but show willing to compromise with a day rate or track rate if that helps the project get done. If you are creating the parts you might ask for less cash up front but a small writing credit, as your contribution may well end up as remunerable Intellectual property (IP) At the very least make sure you are PPL registered, get a registration number and ensure that all the proper BMI release forms have been signed by the artist or producer clearly stating which tracks you have contributed on and to what extent... Edit I've done lots of sessions for TV, radio, major label artists and everything down to bedroom projects so feel free to PM if you want a chat I can ping you my mobile number

[quote name='SteveK' timestamp='1389659688' post='2336779'] I've never heard of skills having "to be turned on and off like a tap" before . What you do realise very early on in your career though, is - people have paid good money and (in some cases) travelled a long way to see and hear you perform - you owe it to them to give 100%, or as near as you can muster on the night. In our case, any form of negativity in the dressing room before a show is a "no, no"! This means 1/2 hour before showtime any friends and relatives are asked to leave the backstage area - band and crew only! 1/2 hour before the show, we have what has become known as "Cockney O'clock" (don't ask) - an outsider witnessing "Cockney O'clock" would seriously wonder about the sanity of those about to hit the stage... it works for us [/quote] I wish for a 'like' button for this... some of the studio moments I've had resemble monty python performed by seals on acid

John Cage said: Creativity and analysis do not belong in the same process... Think less while you're playing, as your analysis after the event (which was done correctly) proved that attempting to do it during the process (incorrectly according to Cage) turned out not only to be inappropriately timed but also wrong... There's a lesson in there bud