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nobodysprefect

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  1. I had this for a short while, and it's one of the best sixes I've had the pleasure to play. GLWTS! Btw, Russ is a pleasure to deal with!
  2. 'The way you, Binky, as an artist, explore your art, chase your muse, and bring your audions into the World offends my feelings and sense of esthetics and you must not be an artist in a manner I don't approve of' Uneducated Englishman talks about art /s (and by uneducated, I mean the English philosopher who was the greatest philosopher of aesthetics of the 20th century)
  3. What do you think about my immediate thought: are you, then, against guitar solos with fast lines or effects, or just when they become and end to themselves, and not tasteful? Because both slap and shred tempt people to overindulge, for sure
  4. In case it wasn't clear to everybody, when I poke fun at not having put in the time to learn certain pieces of music that many bassists and non-bassists consider to be in the, if not essential or iconic, at least so well-known that you'd be reasonably expected to muddle through ... like Imagine or Let It Be or Can You Feel the Love Tonight on piano, or Wonderwall, Voodoo Chile, Paranoid, You Shook Me All Night Long on electric guitar ... I'm the worst offender. I say I love soul, funk and disco, and yet I couldn't play Forget Me Nots without shedding. I claim to have spent my youth drinking beer and listening to classic hard rock, but can't play Stairway to Heaven or Black Dog off memory. Highway Star on a good day. Thus endeth today's public self-critique (and I put the little red book back on the shelf)
  5. I don't know about understated, he does all kinds of runs and fills and fast clusters, but I think the reason it works so well is that he's so good, he can place those notes in the right spot, time- and dynamic-wise. I "could" 'play through' that line with some (days or weeks of) focused effort, but my notes would stick out, because they would be ever so slightly (or a LOT) off the sweet spot Not that having worse feel than Andrew Gouche is particularly rare in bassdom...
  6. I'm a gushing fanboy of ol' Gooch.
  7. Putting my tongue in my cheek here. Yeah, slap sure is a terrible plight upon music. And now other musicians expect us to pull off well-known super hits with slap! Auuugh. Don't they realise all lines just sound worse when slapped? There's just never really a need for it. Yup, sure wouldn't want to sound like this unmusical womble https://youtu.be/hmkR3gmJh7w?t=220 Now, I'm no better than the worst of us all: I've been lazy, and I can't play slap properly. It's a shortcoming I have as a bassist. Time to correct it.
  8. I dunno man, he has a fair number of pretty fine moments. https://youtu.be/VMXW6hfJ-r4 TBH, I find it more interesting to compare him and Justin Raines. Same generation, very different players Justin's just so exuberant! https://youtu.be/oVKM0-j04dc
  9. And you might want to take into account the different esthetics in different genres! I wouldn't play gospel runs over an Irish folk tune or a tango -- that'd be grievous bassily harm (aka overplaying) and the Crown will have words about it. But there's something about the oversaturation and over the top runs on top of runs on top of runs that you have in gospel jams, it's like having way too much of a good thing and you just laugh at the impossibility, and it still works somehow
  10. Matters of taste and all. It's pretty interesting how people have so different reactions to different genres: to me, most music outside jazz, fusion, and modern gospel is too stiff and I don't wanna hear it. and I want to whine about it. To contribute, here's Sharay playing improv and making a couple of fat mistakes: https://youtu.be/mc_R0C2eSLo
  11. Thanks for all the kind comments, guys! Looking back, I'd really quit shortly after I moved to Sweden. No-one* to play with, and full-time studies + part-time work was more than enough to keep me occupied. In a sense, selling off my gear is just facing the facts. Spoilered my grumbling that's more fitting a spoiled 15-yo.
  12. Tony B and Henri M kept talking to me about music and I'm gonna get back to playing and donate the profits to charity, instead. Will end up being the bigger amount by Christmas if they fiiiiiinally let us go out and play So everybody wins, eh? So I was about to sell this back in January/February when I realised I hadn't touched a bass in 5 months or more. It's been 2 months and I still haven't touched a bass, so I'm selling this even though my friends tell me to not quit. I can always just buy a 100 squids chinajazz if I feel like playing next year or decade. So this is a Yamaha TRB6-P. P here stands for piezo. The TRB basses got Patitucci and Andrew Gouche to switch over from Ken Smith, and these are well known and loved basses. The 33 7/8 scale makes this a really nice first six. Well-defined B without extended scale. Pretty jazz-like tonally, but the piezo opens up new possibilities, it can be blended in with the magnetic pickups with it's own pot. Can sit in the mix very much like a jazz bass does. Ebony board gives the highs a very clean, clear character, which I need to hear what's happening. It seems to me to reveal more nuances in technique and such. Frets have very little wear, it's been owned by 2 jazz players before me. The photos show the small ding in the back of the neck, and Nordic winters have caused the typical shrinking of neck to make the fret end on the UPPER (thankfully not the lower) side of the neck to peek out. Asking price excludes shipping costs, because those will vary very very much based on what company and options you want, so there's no fair way of including shipping costs in the price. More photos: https://www.dropbox.com/sh/qiec2i1jcd15nb5/AACZpDouW1CQF8WQBz5wmmZxa?dl=0
  13. @ped if it's my username, can it be changed to have no punctuation and spaces? @binky_bass @triplebass pming you guys now
  14. I heard people can't send me message, but that's weird, you and I have been able to send messages back and forth all summer.
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