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Everything posted by funkypenguin

  1. The number of strings has no impact on increasing the players ability, in fact 5 and 6 strings are harder to play for various reasons, muting and string crossing being two. ive seen wonderful players on 4 strings and awful players on 5/6 strings. Its what the player does with the instrument that counts... Following on from that, musical quality is entirely subjective. Most of my heroes on the bass (Anthony Jackson, Tony Grey, Damian Erskine, John Patitucci, John Myung, Rich Brown etc. etc.) all play 6 string so I would say that the 6 string bass has gotten us a long way....if you don't dig any of their music you may have a different opinion!
  2. Ive been using the same bass for almost 10 years now and only changed amps because my old one was beyond repair. The only reason I would change is if I suddenly ran into enough money to afford the spec of the Fodera I would go for, but since that's unlikely im GAS free!
  3. If I came into enough money tomorrow I'd be calling Fodera and ordering a monarch 6. For me its a beautifully elegant and compact design, especially with 33" scale and 16.5mm spacing
  4. Fodera Anthony Jackson Presentation II is north of £30,000 last time I checked, that would be the most expensive ive yet come across
  5. Thats a gorgeous bass but I cant understand Warwick offering 20mm spacing as standard on a 6er. GLWTS!!
  6. Its an interesting topic for debate for sure. I had around 15 years of classical training, alongside my delving into the world of popular music and jazz fusion, and I feel I have an awful lot left to learn in both worlds. The skillsets for both are incredibly diverse and disparate, but both are 100% valid and just because you haven't delved deeply into the classical mindset doesn't make you any less of a musician
  7. thanks so much for the very kind words, they are very very much appreciated!! I haven't seen either of these videos but I will be checking them out this evening, but I do find that Bach does translate very nicely onto other instrumentation, which I suppose is part of what defines a masterwork
  8. thanks very much! I should say it took me a long time to prepare this!!
  9. Just uploaded my performance of Bach's first Cello Suite In G major. Link is for the prelude but the 6 movement playlist should open via the link
  10. Ok folks, the editing is finally finished! Here is my complete video series of Bach's first Cello Suite in G Major! If you enjoy my performance please like and share the videos! the Prelude is the video linked but the complete playlist of 6 movements should open in YouTube Enjoy!
  11. It got to the point where it was memorised yeah, I stopped needing the score around 3 weeks before I recorded. As with everything else, its just repetition that gets it to that point Ben
  12. I used the score on IMSLP. I've attached it below. The only change as far as the notes are concerned is that I read it up an octave from written. I had to make some changes to articulation due to the fact that im not bowing the piece but other than that its as true to the music as I know how to play it. Ben IMSLP70851-PMLP04291-Bach_-_Cello_Suite_No1_in_G_(Becker_Peters)-2.pdf
  13. Thanks so much! yes, my bass is tuned B-C Best, Ben
  14. Hey Paul, Its a 97 streamer LX6 custom shop retrofitted with an East U-Retro deluxe preamp in place of the old MEC 2 band unit. The wood combination (wenge/maple) is naturally quite bright and the U-Retro does an amazing job of sweetening the high end as I found the old MEC unit far too harsh in the top end. strings are DR Hi-Beams (.125-.030) and my bass is tuned standard, B-C I'll post a link of the video series as soon as we're finished editing it! Best, Ben
  15. Hey, yes its being played an octave higher than written I'll be releasing the whole suite as a video series on YT sometime later in the week so you'll be able to see that it fits very nicely around the 12th fret position on the 6 string bass. I'm glad you enjoyed my performance so much, its very kind of you to say it stacks up to a Cello performance of the suite! One of the main goals for me was to make it musical, to go back to the source material and pull the music out of the music if that makes any sense? Thanks for taking the time to listen to the suite! Ben
  16. If you're flying with an instrument I would say packing it appropriately is number one on your list of priorities....if you don't do your homework and take every precaution prior to flying then I would say that's on the musicians head. Being nice to the gate and cabin crew is essential if you want to try and get your instrument on the plane, even something as simple as a smile and a good afternoon can get you a long way with aircrew. I got lucky and never had a major issue with flight crew when I was travelling a lot with my bass and only had to gate check it when the flight was absolutely rammed
  17. Hello folks! Hope you're all well and staying healthy through all madness that has engulfed us all . I've just completed my first lockdown project which is a complete performance of Bach's first cello suite in G Major. The video series is now linked below and should take you to the Prelude and the playlist containing the other 5 movements! The soundcloud link is also below for those wishing for a somewhat better audio representation of the performance! Its been a long process and a lot of practice prepping this. For those interested in the tech side of things my Warwick streamer LX6 was recorded (flat with passive tone rolled on a little) via DI box, Amp DI (Genz Streamliner 900) and from a mic on one of my vanderkley cabs via a focus rite interface into my computer. Declan Pearson of Colossus studios in Bolton then took care of final mixing and mastering if you have a spare 20 minutes id appreciate your thoughts! Hope you enjoy it! Ben
  18. I'll go with Dream Theater, Images and Words > Awake
  19. when it comes to quantifying the worth of expensive instruments it isn't about being able to quantify their specs one vs the other, its about which one suits you and speaks to you the most. Ive played vintage fenders that carry a much higher price tag than my main Warwick custom shop Streamer LX6, but the Warwick is in another dimension as an instrument, its far more ergonomic, is has a far more complex sound, plays like a dream, the spec is almost perfect and she has been with me almost 10 years now (all IMHO naturally ). You're happy with and love your Euro series Spector, therefore the increase in price to a US NS-2 doesn't make sense, which is perfectly fine. The workmanship, fit, finish, wood quality and the HAZ preamp of the NS5XL all combined in my eyes/ears to make the US bass worthy of a heftier price tag than the euro I played. This was a few years back though when the price difference wasn't quite as high
  20. I always carried my bass on with me (I worked for a cruise company in the states and couldn't afford to have the airlines lose my bass, which is what happened the one time I did check it....). I use a reunion blues continental gig bag, with the bass thoroughly bubble wrapped inside. Its light enough to carry around airports and sturdy enough to survive being gate checked if push comes to shove, though I only had to gate check it once or twice
  21. I feel like you'll never hear the difference between the basses after the audio has been compressed to hell uploading to YouTube. The only way you can make proper judgement on any basses sound IMO is to play one for yourself and then decide either way. I had the chance to play a euro 4 and an NS-5XL back to back and I thought the HAZ preamp was a big step up in sound quality from the tonepump fitted to the Euro. I think you've more or less answered your own question on whether a new NS-2 is worth it a few posts back when you felt you couldn't justify spending more than £1500 on any bass.
  22. I would have pegged you as a Fafner sort of character @Dood, but this amp does sound great! Is there any possibility of seeing how your Shukers sound through this rig?
  23. I've nothing against slap, my first bass hero was Mark King I don't really slap much anymore these days but its a lot of fun to work on from time to time and there are some bassists doing incredible things using slap (Alain Caron and Henrik Linder are two that spring immediately to mind). What I do hate is the Clutterbucks of the bass world slapping incessantly throughout the duration of a trade show about a thousand DB louder the anyone else around them. The last bass show I went to was the last bass day in Manchester and my ears were bleeding after being around the trade stands.
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