Cairobill

I don't have an axe to grind against any particular brand of bass or equipment as in my time I've toured with an SVT and two four bangers for years that I played with a pick at the end of a long strap but I also enjoy twiddling with six string basses, double basses and the like in the right context... It's all about what you're playing and to say a four string passive wins out over a six string active bass obviously depends on who you're playing with.

For instance, I would have been laughed offstage playing a Six String bass with my old indie band and my Stingray sounded like a total, utter, heap of sh*t in a jazz trio...

I do have an antipathy for Warwicks but I would class it as mild on the hate scale. They were just so celebrated but I really didn't like them at all, which brings me onto two things I really, really hate. Not brands etc but 'features' would be more accurate....

1) neck dive
2) heavy basses

Either feature present in a bass stops you from enjoying the pure simple joy of playing the bass guitar standing up. I don't want to sit in a chair and play the bass, I want to stand up, move, and not be restricted by the bass.

In addition, if a bass is expensive, can't the luthiers ensure a consistently acceptable weight? Who the f**k wants to buy a Fodera for x thousand pounds if the bastard is going to compress your vertebrae and give you palpitations?

Oh, I almost forgot - scale length. Does it really give you a bigger B string? Ever notice the boutique basses that come up for sale on Talkbass etc time and time again that don't mention the 35 or 36 inch scale length? 34 is enough ...as Zon and Smith ERBs demonstrate...it's less and less fun the longer the scale length...

Oh and crappy plasticky fenders...

That's my hates...

Nick

I'm in Sarf London. Likewise, the Bravewood has a real "I am your number one bass" quality. They ooze magic. Dunno how he does it - he must be a druid or something...

But I did play a Celinder (the Me'Shell daphne Blue one in the Gallery) recently...and that bass was an amazing thing indeed...

Nick

[quote name='Mokl' post='656270' date='Nov 16 2009, 07:19 PM']*sob* This bass really is right up my street, and I have a lovely Bravewood fretless Jazz too. Not sure I could ever part with it though tbh. Purely for reasons of interest, where are you based Cairo?...[/quote]

I agree - when you have to play db for a couple of hours, pain will turn into exploding fingers...when it comes together it's a pleasure. But you definitely have to practise regularly, that's the bargain with the big chunk of wood...

I've got the book too. It's great. The DVD has the same high quality feel, really well out together. But the stand out thing about it is his demonstration of 'the claw' and how (as Jakesbass said) you should be able to get a reasonable tone out of your left hand without using the thumb to oppose your fingers pressing the board. It's all about using arm and body weight to produce sound. Likewise with the right hand - big tone is achieved by transferring the weight of your arm through your finger to push a lot of energy into the bass....

I really recommend the DVD.

Likewise, Andrew Anderson's pedagogy for Double Bass technique is a FANTASTIC resource for double bass chops - and it's free! It's several parts and there's loads of info there...

[url="http://www.youtube.com/watch?v=gZ4ctFAe7r0&feature=related"]http://www.youtube.com/watch?v=gZ4ctFAe7r0...feature=related[/url]

Good luck!

Nick

Absolutely right - I started playing db in my mid thirties and it's really helped me progress as a musician and bassist esp. with jazz...

The big mistake with DB is to transfer using the gripping method of fretting from electric to db. It really hurts after a few minutes and any effort to persist will result in tendinitis. People sometimes expect it to hurt and persist with bad habits and it can seriously bugger your hands/forearms.

DB left hand is all about using arm weight and correct hand/finger shape so that you can use arm weight to depress the strings without screwing your tendons.

A really good DVD with a sound analysis of left and right hand technique is Rufus Reid's 'Evolving Bassist'. He covers left and right hand technique, chord theory, walking and runs through a few great standards. It's a fantastically well spent 20 quid. And, of course, get a good teacher and use a bow too, if only just for practicing, it nails your left hand technique and intonation.

Rufus Reid DVD for 16 quid! Buy it now, it's all in there...

[url="http://www.amazon.co.uk/Evolving-Bassist-Rufus-Reid/dp/0757915655/ref=sr_1_3?ie=UTF8&s=books&qid=1258382107&sr=8-3"]http://www.amazon.co.uk/Evolving-Bassist-R...2107&sr=8-3[/url]

[quote name='jakesbass' post='655825' date='Nov 16 2009, 11:29 AM']Hey Bilbo, I would be bound to chime in. Having heard your electric playing on a few of the things you've posted it's clear that you have great harmonic facility and technical execution. You can transfer those skills onto DB very easily.
Primarily if you are worried about injuries as has been said make sure you are warmed up before practise, a quick spell on electric first can be useful with that. Secondly work very carefully on the physical approach to the instrument in the left hand, and do very little until you are doing it right. Straight wrists, gently curled fingers, not to much 'gripping' more using the natural weight in your arm to get pressure on the stops and into your finger tips. Use the pads of your fingertips rather than curling too much and in fact with the right approach you can stop notes without having your thumb on the back of the neck at all (NB that is to see that applied pressure is correct and NOT a recommended way of playing per se) Keep your elbow up and your wrist as flat as planet earth (it is flat isn't it?)
Later today I will post some pics of a good attitude for fingers wrist and arm...
Most of all you have PM and posting here for a constant stream of help and advice so, really, I mean it, contact anytime.
Enjoy, you will prosper spiritually on it as it is the natural home of your second love (assuming your significant other is 1st)
Jake[/quote]

It's pretty amazingly yuk isn't it? No wonder people slag off relics...

[quote name='Beedster' post='655762' date='Nov 16 2009, 10:41 AM']Make FCS look pretty incompetent doesn't it. The MRP for that bass is well over £3000 [/quote]

I echo Beedster here.

The most efficient fretless I have ever played is my old Zon Special which was sold to Gwilym then onto someone else. They are absolutely amazing, sing for ever and give you a wide range of tones. They have phenomenally low action and are a breeze to play.

A fretless jazz is instant Jaco but you do have to push it a bit (which of course give the glorious throaty jaco tones, which no other bass can really match) which might make it not the best first fretless...

Good luck finding the right one and , of course, feel free to try my Bravewood...

N

Just a quick comparison for ref purposes...

Fender CS
[attachment=36447:Jaco_Back_FUll.jpg]

Bravewood
[attachment=36448:jaco_bass_3.jpg]

Beeeg difference...if you're into the squirrel analogy, the Bravewood may be nibbled but the Fender CS has been licked...sander city...probably took ten minutes...

C






[quote name='Beedster' post='655735' date='Nov 16 2009, 10:22 AM']+1, if it's a true replica of Jaco's mojo'd '62 it makes me wonder whether I'd buy a real mojo'd '62

C[/quote]

Speaking from personal experience, the Bravewood easily outclasses the Fender CS in build, tone and visual aesthetics. If you're near me, feel free to drop round my place if you want to try my Bravewood Bass of Doom. The Fender CS relic job is gobsmackingly bad.

Cheers,

Nick

[quote name='alanbass1' post='655689' date='Nov 16 2009, 09:23 AM']Well, I have laid low on this as I'm really in two minds as to whether I want to let this bass go. However, I do have GAS for a traditional passive jazz and I really do want a top fretless t see if I can really get to grips playing fretless. I will put this up one more time to see whether there is anything out there that will make me part with her; the list is pretty specific and I'm happy for cash to play a part in any deal (either way). So, the basses that will definately interest me are:

1. Fender Custom Shop Jaco Signature (Straight deal)
2. Late 60's (plus cash from me)/Early 70's Fender Jazz (Straight deal)
3. 70's Musicman Stingray fretless
4. Bravewood Jaco replica (plus cash)
5. Fender US Jaco Signature (plus cash)
6. Fender Custom Shop '60's Jazz (plus cash)

Some more photo's of the Celinder:







[/quote]

With Bravewood the relic is one part of the equation and obviously very much a taste thing. Sonically and construction-wise the basses themselves are jaw droppingly good...I mean really, really good...

Nick

This bass is sold - cheers!

Nick

Hi Keith,

It's one and the same - I don't have any detail shots but this is another shot with the location of the patch in view although you cant see it in the pic. It is a 4X3cm right angled triangular patch placed over a knot that appeared in the top during working. It is adjacent to the edge of the top right shoulder (i.e. on the G string side). It doesn't go to the edge and is pretty subtle...

Cheers,

Nick

[attachment=36154:0.jpg]

[quote name='Mr Bassman' post='652041' date='Nov 11 2009, 09:50 PM']Does this bass have a small right angled patch of spruce replaced on the top just out of the picture?

I remember Paul selling a bass where he had removed a knot from the top and the grain of the patch didn't quite match.

cheers
Keith[/quote]

...and bump

It's a beauty...I'll put up a demo in a bit...

Cheers

Nick

[quote name='stefboltonfc' post='650296' date='Nov 10 2009, 01:11 AM']That is gorgeous. Wow.

I've never had a go at a proper fullsize double, my only upright experience was ten minutes on a cheap Stagg thing at PMT (hehe) Manchester.

That just looks like it would be a dream to play.

Major, major jealousy here![/quote]

[quote name='dougal' post='648841' date='Nov 8 2009, 03:25 PM']Would that stretch to a maple boarded F-bass studio? It's not *exactly* a jazz type: but it is quite upscale :-)[/quote]

Hi Dougal - thanks but the F-Bass isn't so much my thing...

Best,

Nick

Thanks Rich...that Nash is a powerhouse...I miss it!


[quote name='richardd' post='649029' date='Nov 8 2009, 07:30 PM'] Nick is a true gent , deal with confidence Still Loving the Bill Nash Nick, All the Best Rich[/quote]

Good morning basschat...Sunday bump...

Lined boards exclusively.

[quote name='OutToPlayJazz' post='646643' date='Nov 5 2009, 08:16 PM']Having met the man in question a couple of times (and he is a really nice guy, too), whether or not you like what he does, he did do one thing. He made a whole generation of bass players work hard to try and emulate him. None of this current day instant gratification nonsense, just pure hard practise to achieve something and become better bass players. Whether you're a simplistic root note rock music plodder or a jazz/funk twiddler, players like Mark King are and should be considered as a welcome inspiration to us all.[/quote]

Well said...he's a great stylist and certainly inspired me (along with Jaco, Lee...etc etc I'm an eighties kid) to woodshed.

I like the post earlier about MK giving Charlie Haden an award - they are effectively at either end of the spectrum. Haden is texture, space and weight while King sticks out in the mix, filling the stave with chugging beats. But I have a taste for both. As I get older I veer towards the Haden end of things but I still appreciate King's playing...

EDIT - Now does anyone know about the viking portrait?...I am intrigued...

Just listening to Pursuit of Accidents the track...fantastic, really distilled, great vibe...

I might do a playlist of what I think is the good stuff...and what tracks I think are well dodgy. I can't think of any band whose stuff has so polarised my opinion of their music. Some of it I really like, some of it is really, really bad...

I remember watching Top of the Pops as a kid when Level 42 did Sun Goes Down. My first impression was "I didn't know Steve McQueen played bass?".

My second impression was that it was a great bass line. King is only knocked because he is so high profile and he's stylistically SO identifiable. No one can deny that he is a fantastic bass player - and he's a lot more than the super fast slap stuff if you ask me. His bass playing generally is very strong indeed. Level 42's music, on the other hand, had terrible quality control - but the good stuff is great fun.

If I was to recommend one album I would go with either Pursuit of Accidents or World Machine...then again True Colours has some great tracks...

Nick

P.S. Does anyone know the truth to that story that he had a portrait painted of himself as a Viking hanging over his fireplace?

The only bass I need is a maple boarded jazz...

...maybe with pearl blocks?

Ahhhh decisions...

I had a five string fretless version of this. The tone can be setup for a really unique punchy and aggressive tone ...think Billy Gould...awesome basses

I have a six string spalted sonus too which is the greatest six string design in the world IMO. Love Zons!

What year is it out of interest?

Bump for the cool Zon

Nick


[quote name='haimesy' post='645398' date='Nov 4 2009, 04:11 PM']Hi All
Here is my Zon sonus special

Satin gloss finish.
Bartolini pick ups
Graphite neck
Bubinga top
Swamp ash body
A fantastic bass and the reason for selling/trading is i have a six string zon and fancy something else as a second bass.
Tradewise fretted 4 string poss 5 string of same quality as zon would add cash for right bass.
A fantastic bass in great condition except one tiny chip on headstock.
Price.....£1250.00 inc p&p uk[pm for EU would have to check cost]
Cheers ...John
PS..The Fender in the group shot was sold recently here.[/quote]

[quote name='Spoombung' post='643309' date='Nov 2 2009, 12:28 PM']Thanks Alan. I probably shouldn't say this...but my own personal favourites don't usually feature the bass too much![/quote]

Of course when you're making the music, the more familiar elements like the sound of your fretless playing must after a while feel a bit 'been there done that' so, to your ears, your favourites aren't bass heavy. But whenever I hear you play the bass it sounds like only you could have done it, it is a completely unique sound. That is a serious achievement on any instrument let alone the bass.

Kudos!

Cairo

Hey Clarky

My advice is to buy yourself a copy of Rufus Reid's 'Evolving Bassist' DVD and get your Zeller set up properly by a good luthier. I know a fantastic guy in Clapham who would do you a great job for relatively little outlay.

Just as an aside, Zellers get pretty bad press for being cheap production line basses but Lawrence (the luthier I know) had a Zeller in that he had set up and it really sounded big and punchy. It's all in the setup!

Drop me a line if you want me to hook you up - I can;t remember the exact cost of a thorough set up (setting the string height, soundpost adjustment, fingerboard/nut dressing etc) but it probably wasn't too far off £100...

I found that after taking up upright that my electric playing improved considerably, so there are other side-benefits as well.

Cheers

Nick