bassace

I don't want to give a talk, Nik, but I'll set up a double bass in the theatre and do some one to ones - or even one to fives if anyone wants a go.

Saw him at Cornbury a couple of years ago. he was very smiley and his playing was great. RIP Jack, one of the true greats. Very sad.

A session player made BBC TV news this morning! And rightly so. RIP Raf.

No, you'd be told if it's in the minor. Major is assumed.

Yes, I like the Lifeline a lot. The only problem is that when you turn it up above a 'medium' vol it can get a bit thumpy. Worth considering though. I prefer it to the realist.

1. Hamster - 2. Silverfoxnik - BC Rich Eagle, Schecter Diamond P5, Levinson Blade B15, amp & cab tbc 3. Bluejay - with no fewer than two cameras, and possibly her so far pretty successful - despite being lefty - Warwick Corvette 5 Pro 4. Happy Jack - who knows what I will bring this year? 5.Chris B 6.TheGreek 7. iD Entity - Zon 5, Wal 4, Amp of some kind, a couple fun pedals 8. Bassace - German laminate double bass, TecAmp Puma 500 amp, MAS 45 (4x5") cab 9. Walman - some bits to be decided 10. Kiwi 11. Sibob - Whatever I'm using for my gig that night 12. obbm - Sadowskys, Mesa Prodigy, Berg CN212, Mesa Bottle Rocket and some cables 13. StephenY - Alpher Bass #004 and EBS TD650 14.seashell - MIM Fender Precision 15.Bottle - mixed bag of goodies, Ibanez, Squier and a bunch of cabs, amps n pedals 16.Macdaddy - possibly Paul the drummer. Will confirm at tonight's gig. 17. Billy Apple. Burman rig and a Ric. Maybe a Squier JV and some other bits 18. Clarky - maybe something DB-ish as my Fender JV Precision is covered by Billy Apple's 19. PTB - MTD 535, Reverend 5, MarkBass combo, any new toys acquired in the meantime 20. ChunkyMunky - Musicman Bongo 4HH, Musicman Bongo LTD '07 HS, MarkBass F1. 21. Charic - Modded MIM P, ACG 4, Yamaha RBX6JM, Hartke Kilo, Bergantino NV610 + Pedals 22. Shockwave - Waghorn RD Artist carved top clone. 23. Walbassist - Fender American Special Precision, Sandberg Custom Thinline fretless 5, Demeter VTBP-M-800D, Bergantino HD210 24. Johnm03 - Satellite and small Stagg thing... 25. steve-bbb - hartke + trb + status + couple of J's 26. xilddx - Fender Japan Power Jazz Bass Special / Zulu Bass / 1961 Gibson Melody Maker guitar / POD X3 LIVE 27. Bradwell - Fender MIJ Jazz Bass, Danelectro '63 short scale, Home Built Fretless, amplification TBC 28. rumblefish - Reverend Rumblefish bass,WAL custom, Alembic F1X pre amp,RSE power Amp,Berg CN212 29. smaz - Lakland Skyline Duck Dunn, possibly Squire JV Precision. Barefaced Gen3 + Orange Terror if I bring my amp! 30. barneyg42- Status S2 headless 5-string, Status headed S1 5-string. TC BH500 TC 2x10 Barefaced Compact 1x15

[quote name='skankdelvar' timestamp='1412862368' post='2572774'] Didn't know what all the fuss was about. Until I listened. I am not a prejudiced man and - though some may believe otherwise - it is a [i]very[/i] rare day when I find myself reduced to sheer, choking rage Let us set aside the ham-fisted arrangement, lumpy mix and turgid 'beat'. Let us quell the nausea we may have experienced upon viewing the soupy, simpering visuals which accompanied the 'music'. Let us ignore issues of provenance and draw a veil over questions of faithfulness to the original. The truth is that this performance of 'God Only Knows' is truly the most appalling piece of sh*t I've heard in a long life that includes enforced exposure to the [i]oeuvres[/i] of Paper Lace and Mr Russ Abbott. One may not even recline on the old chestnut of 'the valueless-ness of subjective opinion in musical criticism'. By every objective measure the song falls so low as to be skimming the bricks at the bottom of the sewer. The fact that it is intended to support a charitable effort in no way detracts from its unutterable loathsomeness. In fact it makes it worse; if this is the best the BBC can do in a noble cause, God help us all when they aren't much bothered. Stuff for charity doesn't [i]have[/i] to be half-arsed, y'know; the authenticity of the charitable transaction is not [i]undermined[/i] by professionalism, taste and talent. In any event, it is immaterial whether a musical performance is intended to relieve - say - the suffering of the Thomson's gazelle or merely to line the pockets of its composer. A song's ulterior purpose is irrelevant to its inherency. This being the case I shall now proceed to youtube, there to seek out 'The Horst Wessel Lied'. It may have been the Nazis' marching song but it's musically superior to this bloated, formulaic, self-regarding train-wreck. It will also make my ears vomit, the better to resume normal listening. [color=#ffffff].[/color] [/quote] Send it to the BBC!

[quote name='BetaFunk' timestamp='1412780439' post='2571971'] No, but this is............ http://youtu.be/Qgcy-V6YIuI [/quote] Ooh. I managed/played in a group in the sixties that had two young girls doing the vox. They covered this tune. Makes me go all wobbly to remember it. Thanks BetaFunk

And remember, what you hear on stage is not necessarily what the audience gets. So a lot of the scratchy trebles could be lost out there.

'at last week's gig we were asked to do something Irish - so in the interval we dug the carpark up.' 'We only do requests if we're asked' 'Our drummer's the best in the country - in the town not so good' 'Always keep the audience wanting less' 'This week we've got our singer in person - sorry, that should have read 'in prison'.

That mag pickup of yours will do the business, Pete. Made for the job. Nice Gedo bass too.

I think I was still at school and I was up in Foote's buying my first double bass - quite 'orrible actually. I bumped into a very nice tall guy who was looking for a bass to hire and we got talking mainly about E strings, as I remember. When he had left the shop the assistant said 'that was Ray Brown'. Duh. Thing was, in those days every schoolboy (sixth former anyway) would have known who Ray Brown was.

[quote name='BassTractor' timestamp='1412609758' post='2570338'] Last year or so, they were seen and heard in a prog cruise of sorts (wasn't it called the Close to the Edge Cruise or something? Daft idea anyway: remember what happened to other shipfarers back in the days), where the cruise ship probably started in Florida, loading lots of bands, equipment and old, rich prog fans, after which it sailed between some Carribean islands, whilst the evenings were spent with prog gigs and banter. Apparently, the price list had the following rough shape: (don't take it too litterally. I'm working off memory and invention here) Prog cruise: £2,000 Prog cruise + all prog gigs minus Yes: £2,500 Prog cruise + all prog gigs incl. Yes: £3,500 "Compl. Cruise" (Complete Complex Prog cruise) = Prog cruise + all prog gigs + Yes Prog Cruise Special Lim.Ed T-Shirt: £3,700 Compl. Cruise + Yes Meet&Greet: £6.700 Compl. Cruise + May Say "You Haven't Actually Made A Good Album For Forty Years" Yes Meet&Greet: £11.700 Compl. Cruise + Steve Howe handshake Meet&Greet: £ 21.700 One would hope they raised enough pocket money so they could bring a roadie to the Westcliffe on Sea Pavilion. [/quote] Cruise ship gig = two reasons for throwing up.

The three were on the One Show two days earlier doing a trailer. Tony Banks said, rather pointedly I thought, 'I'm the archivist!' I was reminded of Winston Churchill's oft quoted remark - "History will be kind to me for I intend to write it." Still a good keyboard player, though. Banks, not Churchill.

Keith, Mr Bassman, brought no less than five basses down from Harrogate: one 3/4, one 1/2, two EUBs and a small 3/4 with an E growler to die for. And it had hatpegs. Of all the wonderful basses at the bash that's the one I'd like to have. Thanks to all the great people for coming and making the day such a success.

No, EA don't do a 15. The preferred max speaker for DBs is a 12", with a lot of love for 10s, singly and in pairs. It's the 'quick' speakers that suit a DB best, it seems. My Crazy 8 got a lot of interest at yesterday's DB bash and I also have a 4x5" that gives good results. There are very good 15" speakers out there, of course. The Ampeg B15 has been used by DB players very successfully and there are other guys on the forum who will be able to give you better first hand advice than my waffling here.

Great pics. What a fine bunch of guys - and gal!

Thanks Sylvia. Can anyone do pics, my skills haven't progressed since the Box Brownie if you can remember what that is. 'Course you can't.

Hope you can. You'll find a lot of helpful people to get you started.

No I haven't yet, Pete. I almost forgot so thanks for the reminder. But I've ordered lunch. Priorities priorities. Right now I'm struggling to get the Upton into its cover and down the stairs. See you all tomorrow.

Len, It's Sunday. Pl let us know if you can/can't do that day. Otherwise no problem.

Yes, the Double Bass is a demanding but ultimately rewarding mistress. At first the stamina required is daunting but it gets easier. Remind you of anything?

I can come only from a jazz perspective. Duke Ellington once said if the bass wasn't ahead of the beat the band didn't swing. Now, swing is an oft abused term. Often applied to bands like Glenn Miller who in my opinion certainly didn't swing due to everything being right on the beat. I understood swing from an early stage in my career mainly from a subconscious influence from LPs (then) I used to listen to. My most significant influence I now know only in hindsight was Sam Jones who played mainly with the Adderly Brothers but also with Bill Evans and Oscar Peterson. If you haven't heard him you should find his stuff on Spot. You'll be struck by the urgency he puts into a tune and that's really what a bass player should do, a bit in front of the beat but never causing the group to speed up. A previous reference was made to Ray Brown; doing exactly the same thing. Of course the slower tunes will need a more studied, introspective approach so this topic refers mainly to mid-up tempo tunes. I remember reading a passage by the jazz writer Gene Lees describing how if the bass is in front that's fine but if the other members of the rhythm section are similarly in front then the tune will speed up. It's a complex interplay between the three (or four) to give the right feel to a tune. I've just lent the book so unfortunately I can't quote from it verbatim but it was interesting to see that a non-musician had the matter nailed. If you'll indulge me, let me mention a two week gig I did on Gran Canaria (someone has to). I didn't take my DB but played the 'resident' EUB. At first something was badly wrong with the rhythm; we just didn't gel. Then I realised that compared to a DB the note comes quicker on an EUB - and probably quicker still from the shorter scaled BG. My playing ahead of the beat was very ahead on the EUB and I had to modify my playing to get the right feel.