bassace

Spinning Wheel, BST, Jim Fielder. And who played the lick on You can call me Al, Paul Simon?

[quote name='jakesbass' post='152645' date='Mar 6 2008, 08:02 PM']off topic but a really good exercise for intonation is to pick an interval and slide between the two notes in the interval on one string, change interval, repeat, use all intervals till comfortable then employ the same tactic with larger intervals that involve string crosses, change interval, repeat. When sliding try keeping contact with the string and apply a little pressure to the string between notes. If you are wondering WTF is he on about? Its this: familiarising yourself with exact positions on the fingerboard aids your subconcious to have more accurate reference points and sliding between notes (assuming you know what in tune is) helps you accurately position good notes I learned this from an orchestral player on DB when I was having difficulty with a few specific notes, sorted it in no time.[/quote] Nice one, Jakes! I'll give it a go and try to improve my intonation which is still a bit iffy after 40 years. Who was it who said re intonation, 'when you've played the note it's too late'. At the moment I'm working out a solo round 'Come Rain or Come Shine' for a piano trio. Some great great chords there.

Ray Brown............... and Jim Fielder (who's Jim Fielder?)

[quote name='bilbo230763' post='147870' date='Feb 27 2008, 02:52 PM']I think the Double Bass is a wonderful instrument and my one regret in life will always be that I never got a chance to nail it (I had one for a couple of years in the late nineties but it coincided with a bad case of CTS and I had to put it down for good). My beef is not with people who legitmiately choose the double bass as their instrument of choice in a given ensemble. I just get narked when good players lose out on good gigs to people who can't play very well but own a double bass! I am also disappointed that more electric bass players (myself included) dont' get to do more 'serious' music because the electric players tend to only get called for pop/funk/jazz hybrids rather than creative contemporary improvised music. I slightly resent the fact that, as an electric player, I seem to have to spend my career continually playing repetitive lines and not the more creative, organic alternatives that are often allowed the double bass (RSI on top of CTS - ouch!)?[/quote] Point well made, however you should have seen the scene when I started out many years ago. Basses weren't miced so a player could get away with murder. There were more owners than players and I suspect that I got work from time to time simply because I could stand up with a bass - oh, and having Dad's car was helpful. I wish I'd bought some of the old basses though, at £50 a pop.

Has anyone tried a small Markbass combo with Double Bass?

[quote name='umph' post='146306' date='Feb 25 2008, 12:11 AM']i really hope that isn't your license plate[/quote] why?

[b]Every line I've ever worked on has become more and more simple, and the simpler it is, the happier I am with my playing.[/b] +1 to that!

In '61 I played a new blond Fender Jazz. I played in the Ramrods in Cheltenham not long after Brian Jones had left them to go to London and the Stones. First I played with a pick, as all bg'ers did in those days over here (I think they got it from Summertime Blues). I remember the house band on Saturday Club had a bass who used a pick and it sounded awful. Then I used my thumb to soften the attack but didn't have a lot of control. I forget who I first saw using fingers, most of the Mersey groups used fingers - not Paul - it looked weird at the time, but as soon as I copied the style I never did anything else.

[quote name='daflewis' post='140122' date='Feb 14 2008, 10:22 AM']bassace - just read my last post - what i meant was that i use obligatos on my URB not my EUB doh! i've corrected the last post - it might make some sense now. [/quote] It does and it did!

Bassbloke, can I add my bit? There's a lot of sense on this thread; not all of it coming to the same conclusion, of course. A lot of it seems to boil down to whether to get a teacher or not. I started many decades ago and apart from the school music master who was the custodian of the school bass (and therefore someone to be ingratiated) there were no 'unclassical' teachers around. Besides there was a lot of work waiting so I picked up the skills as I went along. So how are things now? Well, the phone still rings a lot but although I've never suffered any lasting injuries my technique is not a pretty sight. My intonation up the fingerboard is decidedly suspect unless I work hard on it and I suffer great embarrassment every time I am in the company of other bassists or have to go and try out a new instrument. So, do I regret not having lessons? - probably yes. Another benefit of a teacher is that he will help you find a suitable instrument; he will most likely have good contacts. He may even lend you an instrument while you get started. And always remember, listen intently to as much bass playing live and on CD in your chosen genre as you can. You will learn how the bass player goes about his business, what lines he takes and how he fits in with the band. If jazz is your thing you could do a lot worse than the Oscar Peterson Trios, especially with Ray Brown on bass. You have already found in this thread that there are plenty of URB players ready and willing to offer you advice and who I'm sure will be interested in how you progress. Keep in touch and remember, the people who learn most are those that aren't afraid to ask questions, however daft they may initally seem.

[quote name='Linus27' post='135352' date='Feb 6 2008, 10:44 PM']This has really got me interested. I was going to get a NS Wav 4 as my intoduction to EUB but at about £700, I am about a year away from buying one. The price of the Stagg might be a good start and they look great also. However, one comment I read was that the intonation was way out. The dots of the fretboard are in the wrong place. Has anyone noticed this or noticed any other issues? Would it be worth making the plunge to get this or hold out for a NS Wav 4??[/quote] The dots are on the side of the fretboard and there are not nearly as many as the Steinberger, for instance. The dot positions are not 'way out' out and in any case the voicing is not so precise that they are a big issue. The Stagg is nowhere near a Stig but is a good introduction to EUB and better things. I got a lot of fun out of mine. It is now in the For Sale section and anyone is welcome to come round and have a go on it, whether they want to buy it or not.

[quote name='daflewis' post='132444' date='Feb 2 2008, 10:29 AM']yeh, i found that they just don't seem to have enough steel in them to give a decent signal to the mag, even though they have a steel core... whereas, bizarrely, the corellis' have a good strong tone with the mag but have a rope core and just nickle winding... very strange.... bob gollihur talks about the how different strings work with a mag - doesn't have the hybrids there unfortunately but does mention the corellis, for example [url="http://www.gollihurmusic.com/product/1452-CORELLI_370_UPRIGHT_BASS_STRINGS_SETS.html"]http://www.gollihurmusic.com/product/1452-...RINGS_SETS.html[/url][/quote] I know you're a Corelli fan and I must try some sometime, once I've got used to the Stig - I find that after a URB you have to be a lot more careful with the intonation because it speaks more readily. This also means that if you're used to playing in front of the beat, as I am, on an EUB you're even more infront! Ah happy days.

[quote name='daflewis' post='132051' date='Feb 1 2008, 04:57 PM'] yeh, the hybrids are a good string, just a shame they didn't seem to work well with the magnetic pup... i think half the battle with getting that upright sound is making you really work hard for every note ....unfortunately i take it you just use the piezo with those strings?[/quote] Yes, a lot of the sound comes from the right hand, doesn't it. I am just using piezo because I didn't get much of a blend from the mag. Are you telling me that hybrids won't work with the mag - I thought they should (doh!)

I'm using Helicore Hybrids and the action is raised so I can just about slip my little finger between the G string and fingerboard at the bottom end. Did a gig last week and the guys didn't notice I wasn't on URB until half time. The singer didn't notice until two numbers before the end - but what do you expect?

I'm bringing mine to the BassBash and will probably sell it. It has served its purpose well by introducing me to EUB (from URB). I have now got a Steinberger which is better - but then it should be for nearly ten times the cost. I'll sell it earlier but the buyer must bring it to the Bash because there is so much interest.

[quote name='OldGit' post='131253' date='Jan 31 2008, 12:30 PM']I guess we should also have a "things for sale at the bass bash " thread too[/quote] Good idea, I'll have some stuff.

[quote name='OldGit' post='126106' date='Jan 23 2008, 02:17 PM']How is the stagg?[/quote] Stagg's fine, although it's been superseded by a Steinberger EUB. However, I still like it a lot, it's very easy to take to rehearsals and I use it for those. I've made a simple effective stand for it which I'll bring along to the Bash.

[quote name='Mikey D' post='125500' date='Jan 22 2008, 03:23 PM']I'd defiantely like to try the Upton! I've heard many great things about them, but decided not to get one without trying one and ended up buying an @100 year old one from this site which I am more than happy with. Would still like to see what the professors are like though.[/quote] Mikey, I'll bring it. It's got Underwood and David Gauge pickups on it. I see from one of your posts that you like the DG - It doesn't seem to suit my bass so I'll be interested in your comments.

I'll come and bring a Stagg EUB. Anyone interested in any of my URBs? - see below - It's a bit pointless lugging one along if there's no call.