krysh

it is always about the context....

congrats and good luck! I'm still working on something like this, but just now my jazz trio split up.

of the 5 basses I own only 1 is original: my eko fretless acoustic bass. 2 are custom made, one has new pickups and the starfire was modded loooooong before I got it.

always. I'm cool, so they do no harm.

these guys have written some of my all time favourites. all three are great gifted musicians. I love copeland, like a lot of stuff sting did on his own, but somehow summers style is not my cup of tea + I never heard him do a solo that I liked.

hallo avus!

[quote name='xilddx' timestamp='1365703492' post='2043295'] Another teaser for the new EP I love Sam's tasteful carefully crafted parts, my kind of guitarist. [media]http://www.youtube.com/watch?v=PYzeNBlcYOA[/media] [/quote] sounds great nigel, wish I could make it. good luck with the gig!

I can't vote, I only know my seibass jazz 5 and the shuker neck on my franken jazz 4. the seibass is perfect for me in every detail and the shuker neck plays like a dream.

I loved the Lefay Pangton fanned fret and the steel: also the DNA amp at the USA Music/Koch booth and the basses of Günther Eyb. and what polo did I wear?

on thursday night I deppped a 2nd time in a 5-piece pub-rock/pop/soul-coverband (2 female singers (one of them plays keys, too), drums/voc, git and me on bass). we only had one rehearsal for the first gig 3 weeks ago and I had to use sheets for the 30+ songs we did since I didn't even know some songs I had to performe - thank god I love improvising . the pub was a small one at the reeperbahn in hamburg that would be more than stuffed if it was 100 people. so around 50 punters appeared and it felt comfortable. 3 songs in the first set had been a bit wobbly but the rest went very well and the crowd loved it. It was the first time I used my lightweight bass rig as a standalone for bass. the drummer was so loud, that I asked the guitarplayer to change the amp positions we used last time (then I had to use a Roland basscube 100 as monitor with the di to pa, that delivered a sound that I really didn't enjoy). He used his 2x12" fender combo (I dind't check the model) as a monitor angled to the side wall of the stage and miked through the pa and I was able to put my rig in the right position to hear myself and rock the house. I really had to krank it up but since I used a wireles because of the narrow stage I could check the sound in the room before the gig. the pa in this club is cheap crap so the band asked some friends who are soundtechs to help a bit and what can I say I loved my sound, the band sound was fine and even the owner complimented me for the good sound of the band. So I proved again that as long as it's not downtuned metal or heavy dubstep a good 1x12" cab with tweeter, a poweramp with 350w on 8 ohm, and a good 2 channel small tube-preamp are more than enough to deliver a great sound with a 5-string even in loud/bad environment up to 100 people. for more punters there should be a proper pa then anyway...

I like brands and names, I really do. Only I don't like to play what everybody else is using and within the past 30 years I usually don't find any stock instrument -vintage or new- that suits my needs anymore. thats why I almost exclusively play old guild guitars and basses and custom instruments and amps.

I am in my favourite bass playing band, too.

buy another one. 2 is not enough.

[quote name='wombatboter' timestamp='1364765876' post='2030742'] Nice cover and love the bass... [media]http://www.youtube.com/watch?v=pRk-1fc1_-Q&feature=youtu.be[/media] [/quote] right, this is what I call musical, too.

[quote name='xilddx' timestamp='1364753372' post='2030452'] Yeah I'm afraid I completely agree. The first is pretty ugly as a composition and clumsily performed. The second is because there was no piano available. [/quote] this.

[quote name='xilddx' timestamp='1364342942' post='2025308'] Not everyone is a musician, and let's face it, unless we are content and believe we will never be able to fully express ourselves on our instruments, we are frustrated as musicians. We can't float the boat quickly enough, or at all. Not every note satisfies. We wish the beautiful mistake was deliberate, or the deliberate was a beautiful mistake, depending on your personal aesthetic, approach to learning, and confidence. We mistake passion for ability, ability for passion, wondering if people will dance to our new grooves, needing affirmation of some sort. You are probably a frustrated musician, but what is it that stops you accepting that the way you approach life and music is what you are? And stops you accepting and hearing your unique voice for what it is? Preventing you from developing your own truth as a musician and as a musical person. What makes you doubt your capacity to delight yourself, and touch other people? [/quote] because of myself.

Oh Nige, always these cans of worms... well, I hope I'll never forget that making music is about making music for people, not for musicians. but I don't believe the bassplayers here forget about this either. but talking about music that you "have to" listen to on the mainstream medias, I definately aggree, allthough more from a producers sight of view. technique only is a medium to transport feelings more eloquently, but I believe that technical abilities in producing are the only ability that counts in the mass media, because the compositions start to lack in quality and especially in originality since the "casting-age".

a great topic and discussion so far (just read up to page 5)! when I started playing music in 1982 for me it was all about being original and finding and developing my own voice. so this became an essential part of me and my life. I was never interested in copying other artists or playing their music in exactly the same way that I listened to on the records. I enjoyed listening to music but found it absolutely boring playing stuff that I didn't "invent" myself - which one probably never really does, but always loved and still do love improvising probably most. I pretty much taught myself by ear playing to my records or the radio and never had a regular teacher, only some workshops or some few hours to learn things I didn't understand. also finding my sound always was an essential part of my development as an artist and musician. If I look back this maybe was the harder way, but if I may believe what other people tell me about my style now, well, then I did it right and after more than 30 years and definitely more musical downs than ups I recently started to feel a rich fulfillnes about what I do when I play, perform, record or write something much more often. but back to the topic. Even before I was able to do A/D/E I joined a band as a bassplayer that did originals and some covers to fill the set. and after 1 year I had my 1st gig with some of my originals. I rehearsed about 3-5 hours every day after school and joined a function band in 1985. After 2 months I had to quit, because I noticed that covering songs had a bad influence to my original stuff and to my style of playing and I decided that the money was not worth leaving "my" path. so 20 years passed - obviously without success - playing in and starting a lot of bands and projects that mostly never made it to stage level. most of the time because of personal differences - as you know musicians are a strange folk, especially me . but my love for music still was strong. meanwhile I do a lot of open jamsessions or open mikes where we usually improvise originals, sometimes improvise covers or even improvise freely and if there is one of these rare moments when the right bunch is on stage we even "compose on the fly" songs in front an audience. I'm playin also in a original jazz trio, and accompany new singers doing different covers every 2-4 weeks and when I find time I still work on my own stuff. to sum this up, covers for me usually are more work than fun, so if somebody wants me to do it I have to be paid. with the right people you can always have fun on stage and of course it is more easy to get on stage doing covers. but touching the audiences hearts with originals or original improvisation, feeling the energy between listener and the co-artists building up during a concert playing original material is the most fulfilling thing that can happen on stage that no cover-band could even slightly reach. and even after more than 30 years I'm always on the search for these moments. maybe this question about why being in a cover band is much more about being an artist or being a performer. well, I still try to become a regularly performing artist.

[quote name='Dingus' timestamp='1363447276' post='2012859'] And then there's the mighty Anthony Jackson : ... [/quote] wow, not from this world. thanks for this thread and the great contibutions! I'd add Oteil Burbridge: [media]http://www.youtube.com/watch?v=NFOYoluPF20[/media] [media]http://www.youtube.com/watch?v=6OAy9Tl-pYU[/media]

Update! since I'm condemned to play fretless (which doesn't have a midi-pickup and won't get one. I don't know why, but I just don't want to add another "glued" pickup) in my jazz-trio BUT I also want to implement playing guitar to add more colours to the band sound, this board will be my experimental "analog" studioboard: but since I still have to carry some pedals home and there I'm allowed to get "digital" here my "rehearsal boards" for guitar: and bass: yeah I know, I'm an addict, but still there is so much to learn how to PLAY with it.