funkypenguin

Just got in from a really incredible gig at the RNCM. My flatmate played me some of Gustavsen's music and we went down to catch his gig this evening. An hour and a half of incredibly spacious jazz later and i'm really feeling reinvigorated as a player and writer every single note, chord, bass note and hit on the drums was given due care and attention and immaculately placed. Stunning evening of music. This link doesnt do justice to the live experience but it gives an idea http://www.youtube.com/watch?v=_3A6ziUPbdk

My P bass into my combo rig works really well for the soul/motown/funk work I'm doing atm, but for prog and the more avant-garde jazz I play, warwick 6 and pedals every time

[quote name='Bilbo' timestamp='1331642941' post='1576355'] We can only control what we can control. We compromise on a massive amount of what we do: how many of us have all of the players we would like, a great sounding room, an attentive audience etc. But there are some pretty basic 'can do's'. A tenor saxophone instead of an alto, a flute on this tune, a flugelhorn on that one. If you want a hollow-body guitar and there is a legitimate musical reason for it, then that's what you should have. An alto flute instead of a concert one. An electric guitar with single coil pick ups not humbuckers? Its all legitimate. Pat Metheny insists his drummers use Zildjan cymbals. Its his call. And, if I want to swing, a double bass..... I can do it on electric (just as a head for flute would probably be OK on sax, or a trumpet part on flugelhorn) but, like everything else, why would I do that if I can do it better on the double bass? And why book an electric if you want a double bass, anymore than you would book a trumpeter instead of a sax player? Compromise is inevitable but why would you if you didn't have to? The 'swing' achieved on electric is ok, its 'good enough' for most things and for certain audiences but, for me, that's all it is; ok, good enough, adequate. It's rarely perfect. Bit of a shallow victory, isn't it? I think there is a tendency amoung electric players who don't play double bass to think that the instruments are all but interchangeable simply because they want them to be. I know because that was my justification for two decades. But the two instruments are different. Electric is better for some genres and DB for others. If you want arco bass, you don't book an electric. If you want slap bass, you don't book a double bass. When you want swing, take my advice, book a double bass and save yourself a lot of the time and frustration I experienced in the past. [/quote] This +1

John Patitucci. IMO the best jazz bassist, electric and upright currently playing and good enough to give any of the older greats (chambers/mingus etc) a run for their money [media]http://www.youtube.com/watch?v=iFVyia5x2uk[/media] nuff said http://www.youtube.com/watch?v=6RUHCt3jzyo hes on upright on this vid but i think its every bit as valuable listening to the feel that upright players get, he's really swinging here

Buy a new one and play it to death, you can then be part of the ageing process

I play 6ers 90% of the time, and i really miss the other strings when im playing on 4, the B and the C. I would always take my 6 on a reading gig, especially theatre shows where there can be alot below the E

Im more and more impressed with Henrik every time i hear him play. Not so much for his technique (which is razor sharp) but for his time feel, note placement, phrasing and note choice

I recently acquired a MIM classic 50s precision. It's the best fender I've played, including some American standards. Try before you buy but some of the Mexican basses are great

Thanks Bilbo and Mike, really appreciate the kind words guys!!

Thanks guys! appreciate the kind words regarding my playing very much its one of my favourite solo bass pieces. I recorded it using my Warwick Streamer LX6 into a TLA rack preamp

No worries guys Ive just put my recording of the piece on soundcloud. See what you think if you've a minute http://soundcloud.com/funkypenguin-1

Here is the first in a series of solo recordings i'm working on, John Patitucci's "Tone Poem". Comments and feedback appreciated! http://soundcloud.com/funkypenguin-1 Its the only recording on my soundcloud at present

[quote name='pantherairsoft' timestamp='1327843456' post='1517504'] I think you are right... I think they would come with a hefty up charge as well, plus the Nordy's aren't really for me. Bart/Bart or Bart/Demeter for a Roscoe. Yum. Decision on the top I finalised. To make sure it wa going to look rocking I printed out each of the 5 options and drew on the pups and bridge to see what detail would likely be obscured. A bit OTT maybe, but it was worth it. In the end this is the selected top for my bass... There will be a matching headstock facing as well. Can't wait to see this taking shape! [/quote] Whoaaa! Thats a stunning piece of buckeye indeed! Cant wait to see how she turns out!

[quote name='pantherairsoft' timestamp='1327779155' post='1516748'] That's a good point. The Hipshot is an easy swap. I think I'm close to a decision on the top. Of the 5 there's 2 that look a little cooler on first impression. One quite butterfly like and another speckled like a peacocks feathers... But after some serious study, the block of pups and ramp would destroy most of what I love about those tops. Simple and cool is the desired effect. [/quote] Can you spec buckeye pickup covers and ramps?

[quote name='waynepunkdude' timestamp='1327778837' post='1516736'] I'll be honest I've never heard anything good played on one. [/quote] I take it you arnt a fan of Anthony Jackson then

Treble Clef pdf now added

Looking forward to seeing this develop!! Just had a look at the LG body shape, i really like it! should be a really compact, fast instrument! Are you going to set the drop tuner to D, C or B?

[quote name='bassist_lewis' timestamp='1327677979' post='1515271'] I read an article recently about Pete Skjold, and he said that he does what he does for the love of building, not because he makes lots of money, and said that the profit margin isn't as high as most people think. You might have a point with Fodera though, their price list is more likely that of a car showroom than a luthier. [/quote] Again, think about where they are based. I know someone who works in New York and apparently the competition for business space is unbelievable, and the rent astronomical in comparison to the UK (even London). Then there is their overhead, which again will cost a huge amount of money. Their materials are the best money can buy, some of which are nearly unobtainable nowadays. Each bass takes months to build, requiring extensive hand time and finishing. Then there is their own rent and living costs. They dont make a huge profit margin, contrary to popular belief.....

[quote name='waynepunkdude' timestamp='1327675091' post='1515212'] A checkered scratch plate, [/quote]

[quote name='waynepunkdude' timestamp='1327672371' post='1515146'] Fender, no need to have a pretentious bass, just let your playing do the talking. [/quote] What makes playing a fender unpretentious?

Im very sorry to hear that your health has gotten in the way like this bud, particularly as a fellow lover of 6ers it must have been a real wrench having to move away from them, specially with a pair as gorgeous as those However, at least you've been able to (Hopefully!!) find a solution! Massive +1 to ramps and shorter scale, they feel fantastic! Have you thought about using 4 finger technique (ala garrison) to stop you anchoring your thumb as much??

Fodera Matt Garrison or AJ presentation contrabass

The flip side is why can you not appreciate well executed, complex bass parts? Complex bass playing gets as much flak on here as it does praise!! Granted there are an awful lot of sterile, technical performances on youtube, but there are some absolute stunners too. You were a fan of some of the dirty loops videos as i recall, there is some pretty phenomenal technique on display there, especially from the drummer and from Henrik on bass. In the same way, there is plenty of insipid, lifeless groove playing out there. Simple parts can be as lifeless, sterile and bland as some of the displays of technique

[quote name='Jimmyp28' timestamp='1327498339' post='1512308'] yeah thats a good rationalisation but really? there over heads are so high they have to charge people to come down and choose the woods for there bass? They do use a very high quailty pre amp and I love the sound of Foderas I really do but how much do you really think it costs to make a Ying Yang standard? [/quote] Again, how much do you think they're paying for rent, materials and overhead??

Ok, take fodera. They're based in New York city, their rent as a result of this will be astronomical, their overhead similarly so. They buy the best materials they can, some of which are nearly impossible to obtain (they only use CITES certified Brazilian rosewood. That's ethical to me) which again costs a huge amount of money. they use a high quality preamp, which costs a lot to manufacture. Then they hand build the instruments themselves. On top of this, they have to be able to live, pay their bills etc., again which living in NY will no doubt be through the roof......that's why they cost so much, not because they are being unethical.....