bassace

Andrew, you'd be very welcome to come up and play my Bryant if you can't find anyone closer. I'm your side of Banbury. Thanks for the mention, Bilbo. BTW, it's a very nice bass and I got a lot of compliments when I took it to the Cheltenham Jazz Jam (house rhythm section) last Sunday.

[quote name='Bilbo' timestamp='1369252217' post='2086989'] GK MB150S - people use them be ause they are light. They sound sh** but at least you can take them on Ryanair as hand luggage. [/quote] Mine's just fine with DB. I can play Moondance all night on it.

It's good.

I'll bring my Upton double bass if anyone would like a go.

That underneath an MB200 would be a tidy little starter rig at around £400 the two. BTW I use a piezo with a 10" Wizzy which is regarded as quite midrangy. You can eq any honks out quite easily. Ah, just noticed it's a 15" which may be a bit 'slow' for a DB.

Fell asleep.

You'll probably have a better chance smuggling in a curvaceous eighteen-year-old but good luck anyway. Enjoy your bass. I've never owned a hybrid but somehow it seems a very good idea.

[quote name='dlloyd' timestamp='1368526624' post='2077941'] As he intended to be. It's satire. [/quote] Of course it is! Doh.

I've just lifted this from the other forum. I do hope I don't get into trouble but I found it quite amusing. [color=#000000][font=verdana, geneva, lucida,]Yogi Berra on Jazz[/font][/color] [color=#000000][font=verdana, geneva, lucida,]An interview with the Master of Malapropisms[/font][/color] [color=#000000][font=verdana, geneva, lucida,]Interviewer: Can you explain Jazz?[/font][/color] [color=#000000][font=verdana, geneva, lucida,]Yogi: I can't, but I will. 90% of all Jazz is half improvisation. The other half is the part people play while others are playing something they never played with anyone who played that part. So if you play the wrong part, its right. If you play the right part, it might be right if you play it wrong enough. But if you play it too right, it's wrong.[/font][/color] [color=#000000][font=verdana, geneva, lucida,]Interviewer: I don't understand.[/font][/color] [color=#000000][font=verdana, geneva, lucida,]Yogi: Anyone who understands Jazz knows that you can't understand it. It's too complicated. That's what's so simple about it.[/font][/color] [color=#000000][font=verdana, geneva, lucida,]Interviewer: Do you understand it?[/font][/color] [color=#000000][font=verdana, geneva, lucida,]Yogi: No. That's why I can explain it. If I understood it, I wouldn't know anything about it.[/font][/color] [color=#000000][font=verdana, geneva, lucida,]Interviewer: Are there any great Jazz player alive today?[/font][/color] [color=#000000][font=verdana, geneva, lucida,]Yogi: No. All the great Jazz players alive today are dead. Except for the ones that are still alive. But so many of them are dead, that the ones that are still alive are dying to be like the ones that are dead.[/font][/color] [color=#000000][font=verdana, geneva, lucida,]Interviewer: What is syncopation?[/font][/color] [color=#000000][font=verdana, geneva, lucida,]Yogi: That's when the note that you should hear now happens either before or after you hear it. In Jazz, you don't hear notes when they happen because that would be some other type of music. Other types of music can be Jazz, but only if they're the same as something different from those other kinds.[/font][/color] [color=#000000][font=verdana, geneva, lucida,]Interviewer: Now I really don't understand.[/font][/color] [color=#000000][font=verdana, geneva, lucida,]Yogi: I haven't taught you enough for you to not understand Jazz that well.[/font][/color]

You could do well to get a ply with a carved top - a hybrid. That way you could get a very good compromise and, assuming you are going to amplify (who doesn't?), a very good sound that you could have difficulty getting if you bought the 'wrong' carved. I started with a ply many years ago - paid £45 brand new - and had lots of great adventures with it, including several gigs with 'names'. If only they knew!

Powerwise you can run a piezo straight into an amp no problem. Trouble is that the impedance of a pickup is considerably higher than that 'expected' by most amps. So although you may get a passable sound you will certainly get a much better one if you use an outboard pre as a buffer. Something to do with infrasonics which I don't really understand: but I would never do a gig without a Fishman Pro or FDeck-HPF.

Just to hijack this thread (a little) I've received my May copy of Sandy Brown Jazz. Sandy was one of the very best acoustic engineers and also a great clarinet player, leading a very good mainsteam band when all about him were cashing in on the 'Trad boom' in the sixties. This is a useful online magazine that gives a good flavour of the British jazz scene today and could be particularly helpful to any aspiring jazzers who may like to know what's going on. Hope you enjoy. [url="http://www.sandybrownjazz.co.uk/whatsnew.html"]http://www.sandybrownjazz.co.uk/whatsnew.html[/url]

[quote name='fatgoogle' timestamp='1367655996' post='2067932'] Good to know. Some people's reviews made it sound like the holy grail of modern bows. My geography of England's pretty bad but would it be impossible to get from London to Tom martin out in oxford?? First cause he seems like a legend and id love to meet him and second they have the claude marchand bows which ive also heard good things about. [/quote] Tom Martin is a bit north of Banbury at Williamscot. Go out of London on M40 and off at Junction 11. Then a couple of miles north up the A361. Tom is sometimes there but you're more likely to catch son George.

[quote name='scalpy' timestamp='1367602237' post='2067516'] A very aptly timed thread as I've blagged a gig at Cheltenham Jazz Festival next week and I'd never, ever say that I was a jazzer! Glad I'm not the only one who struggles with the brain speed jazz requires or who finds "proper" jazzers intimidating. What I'm learning is that you have to think like a jazzer, if you can't hear it, guessing you're way round a chart just don't work. Back to the wood shed for me, and some proper analysis required! [/quote] You may be in good company because 'tis said that there aren't too many jazzers at the CJF anymore.

Nice eclectic programme. I'd like to see the Felonious Monks! (melodious funk?)

Plus one for John Goldsby.

He coulda done with a lesson. Jake would sort him out.

That's what they did back then; he'd probably never heard of thumb. And note how his left hand technique is far from 'classical'. There's a bit of a debate about when jazz players started to go 'legit' but LaFaro and his generation got a lot of the credit. If I may modestly mention, my technique is very much old school, looks like a train wreck today but is strangely effective.

As well as being a great in-demand jazzer in his time he played the intro to The Drifters' Under the Boardwalk as well as a lot of early Neil Sedaka hits. Quite a guy.

I read some of it and sometimes I post. No more, no less.

Good, order with confidence.

This type of fixing is used on Bassmax, Fishman Full Circle and BP-100 - and others probably. Some players favour afterlength damping to reduce the possibility of feedback but this is across all four strings, not just A and D. By the time the bass sound comes out of the speaker there is a certain amount of degredation anyway so my problems with such clips tend to be practical/ aesthetic rather than acoustic. You either have a straight jack sticking out and prone to damage by some passing musician or you need an angled jack. Plus a possibility of unravelling the silk binding. The Fishmans can be modified to give a straight socket than can be clipped to the underside of the tailpiece - tidy and safe - and so can the Bassmax but the trouble is that the cable is in most cases just a bit too short to make it down to the clip point. Incidentally, I have now developed my clip to handle two pickup jacks; there's a lot of mixing happening out there. PM me is I can help.

Sold an Epi cab to Paul at the weekend. Very easy transaction and totally satisfactory in all respects. A nice guy.