Thunderthumbs

Must admit to really appreciating the basslines in songs by The Feeling. I read a short interview somewhere recently (may have been in the free mags at Bass Day) with the bass player. Nice to hear basslines that are actually very melodic and harmonic, rather than just 4/4 root notes as a lot seem to do. It's almost a tad Jamerson-esque.

Was going to buy a Goodfellow bass from A1 Music in Manchester about 15-20 years ago. Fell in love with it, and was around £600 at the time. Never bought it. Saw them on the same stand as EBS at the Bass Day and it made me regret it. Still think they're beautiful basses. If only I'd joined the club!

Hi there. Welcome from a relative newbie. What part of Cornwall you from? My favourite part of the country and well worth the 7-8 hour drive to spend a week or two there each year

Streamer, not a Thumb, but pm'd anyway.

I've only bought something from the States once, and I was OK. Saying that, I think it depends on the vendor stating the value of the goods as to what you get whacked with duty wise.

I went through pretty much the same thing a couple of years ago with the lack of passion, etc. And I ended up doing a few gigs with a mate who needed someone at the last minute to step in, and being under pressure not only gave me the love of playing back, but it helped my self confidence knowing I could just turn up and play (cos he has a habit sometimes of playing songs I've never even heard of, let alone played before). But he's good to work with, so it helped me. Then I just saw an ad for a bassist required, went for it, got it, have been with the band nearly two years, and have 3 great mates out of it. So life deals you some aces sometimes. Good luck with the future.

Never got round to a simple "Hello" so here goes.........HELLO! Been playing bass for nearly 30 years now, and still love it. I'm still full of bad habits, and always on the lookout for something/someone that inspires me (Hadrien Feraud being the latest). Bought my first bass around the age of 13/14 and taught myself how to play it (I'd had a bit of a background in music prior to that....played guitar for a few years before, and violin too - I was the leader of the South Manchester Youth Orchestra in my early days!). Started out with a Kay bass (Gibson copy) and played through an old record player that had a mic input on it. Once I joined my first real band, bought an Ibanez precision copy, then a brown Fender Precision with a twisted neck. Since then I've been through numerous other basses and amps (Wem, Carlsbro, Trace Elliott, etc.). Current set up includes:- Lakland Joe Osborn 5 string (bought in a fit of GAS attack) Fender Jazz Marcus Miller (which I bought earlier this year) Warwick Thumb 5 string through neck (about 15 years old) Warwick Streamer 4 string (cherry finish with red Sims LEDs) - SOLD to Pedro1020 1976 Black Fender Precision with Maple neck EBS TD650 head Ampeg SVT III Pro 450w Bass Amp - SOLD to peety EBS Neoline 4 x 10 EBS Neoline 2 x 12 2 x SWR Goliath II 4 x 10 Speaker cabs - SOLD to dangerboy Behringer Bass V-Amp Pro - SOLD to TPJ EBS Multicomp pedal EBS UniChorus/OctaBass/DynaVerb (all subject to GAS attacks again!) AKG WMS40 Pro Flexx Wireless System Played in covers bands mostly, and been with the latest one ("Seven Days" www.seven-days.net) nearly 2 years. Things are going pretty good at the moment. Prior to that, had a break from playing regularly - fell out of love with it. Then got a few gigs with a mate of mine, and it all came flooding back. So I've got to thank him for getting me back on track. Did some TV work a few years back. In the early days of the launch of Granada's "Sky" channel (GSB), when it became Men & Motors at 10pm, was the bass player in the house band for a few programmes:- "Coming Soon" - magazine style programme fronted by Jenny Powell "Elvis Has Just Left The Building" - comedy pop quiz in the same vein as Never Mind The Buzzcocks but on a much smaller budget. Fronted by Mike Sweeney (local DJ) with Noddy Holder and Clint Boon as team captains. "Noddy's Electric Ladyland" - same as above, but Noddy took over as host when Sweeney went to work in London. Had some great times on there, most notably backing Roy Wood (of Wizzard) doing one of his tracks, and Brian Conley (who really surprised me as a singer and a person to work with - no prima donna stuff with him). Highlight of the lot was an after show party where we just threw the gear up in the bar, and just played with whoever wanted to. We ended up with Fish of Marillion on vocals, and Uncle Peter (Woof, Bark, Donkey) off Reeves and Mortimer on drums! Cheers all.

When I first learnt how to slap the bass many years ago, I went mad, slapping in every song I could. The truth was, listening back to it, it was way way over the top, and in many cases sounded dreadful. This was simply because that's not what the song called for. Sometimes it really is important just to hold down a groove, even if that's a very simple, very straight 4/4 root note beat. As I got older, I just matured. Now I play what I think is necessary, and try not step on other people's toes. But if there's a gap, and you can add a little something, then why not.

I've always sang backing vocals. Through necessity to start with, but it just comes natural now. I find that if I'm listening to a track, I'm always listening to the bass line. That has now become likewise with vocals....I tend to listen for the harmonies rather than the melody. One I struggled with many, many years ago, but with practice, I eventually cracked it.....have a listen to ELO's "Mr Blue Sky" and listen to the walking bassline Kelly Groucutt's playing at the end where the operatic part is (just prior to the staccato piece with all the strings). I had to play and sing the operatic part. It's sheer hell to start with because of playing and singing two different rhythmic patterns, but eventually you just get it.

I'm surprised nobody's mentioned James Jamerson. Just have a peek through Standing In The Shadows Of Motown and you'll find a dozen blistering bass lines. For Once In My Life Home Cookin Darling Dear to name just a few. Take Darling Dear (Jackson 5) as an example. Apart from the opening few bars, there's virtually no repeating of anything through the rest of the song. Take away the rest of the song, and the bass line on its own is an amazing melody.

I bought a Marcus Miller Jazz back in May and have to agree, I was pleasantly surprised with the strings that it came with. Once they went I put Warwick Red Labels on (45-105) as I had a few sets, and to be honest, they just didn't feel the same right from day one. The brightness went out of them pretty quickly too, and I'm not a real "sweaty hand" type player either. Just got myself some DR Fat Beams imported from the good ole' U.S. of A. and they're lovely. Nice and bright, and feel very smooth at the same time. Only just put the first set on so it's difficult to make the comparison in how long they'll stay bright for. Very nice price too

[quote name='Chezz55' post='70672' date='Oct 7 2007, 02:54 PM']My three 'Mission Impossibles' T-Connection - Do What You Wanna Do Stevie Wonder - Sir Duke Trammps - Disco Inferno[/quote] My band's in the process of doing Disco Inferno, and to be quite honest, it's not as difficult as it sounds. And I've also sat and worked out Sir Duke just for my own gratification (although I might try and gently force the band to get it in the set at some point). The key to both of them (like a lot of people on here say) is to work it out, or get the tabs from bassmasta.net or elsewhere, and just break it down into smaller components. Play those components along to a metronome at half to two-thirds the original speed, and slowly, but slowly, increase the speed. Eventually you'll find you'll piece it together nicely. One for me was the bass part under the guitar solo in Lenny Kravitz's "Are You Gonna Go My Way". The phrases just feel unnatural. It's taken me hours, and it's only about 16 bars, not an entire song. But I've eventually cracked it. I always tell the other guys in the band our rehearsals should be like 4 pieces of a jigsaw, we're all there to put our pieces together. That's pretty much the same approach I use to learning stuff. I work out small parts, and then piece them together. Patience and practice is the key to it.

Oddly enough, despite my band doing a few obvious dance covers, the one that surprised me the most was.... Little Respect (Erasure). Firstly, because we don't have a keyboard player (but we do a good version even if I do say so myself); Secondly, because I have never liked Erasure, and admit to actually enjoying playing it now; Lastly, it ALWAYS gets people dancing.....regardless of age....from 18 to 80.

[quote name='jacko' post='87598' date='Nov 12 2007, 09:46 PM']The only thing I'd add would be for them to maybe have a couple of rock players. I love jazz but it did seem a little one sided[/quote] Yeah, my feelings in a way too. Absolutely loved Hadrien Feraud, but having someone like Bond (although it wasn't to my tastes) was a good idea as it added some variation to the evening, and a look at how other bassists are approaching the instrument. Imagine the possibilities of having the same evening again.....with a young James Jamerson, a young Jack Bruce, a young Paul McCartney, a young John Entwistle, a young Chris Squire, etc. (impossible I know, but you see where I'm going). I personally could listen to the likes of Hadrien, Jeff and Lorenzo play all night, but I also think it's important to demonstrate as many styles as possible.....and yes, that includes rock bassists.

Anyone stop around til the end of the night to watch Hadrien Feraud? I'm liucky that I live in Manchester, so it was no problem staying til the end. And well worth waiting around for. To be honest, I'd never heard of him before (have I been sleeping under a rock?), but he blew me away. Definitely one to watch out for in the future if he's touring the UK. Bagged a set of Elites strings for freebies, so good point. Bad point....my mate's number was one out for the Overwater Bass prize draw! He's a drummer, so I'm sure he'd have handed it onto me. Oh well, that's life.