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  1. Transcription of Chamber Mates

    I'm very impressed that you can transcrbe by ear!! What a useful skill. I was looking for the chord chart to go with it, but neither the Real Book nor iRealPro have it. There's a whole book of them (transcriptions with chords) here though (at a price!): https://www.prestoclassical.co.uk/sheet-music/products/8129911--jim-stinnett-secret-chambers-a-comparative-analysis https://www.bassbooks.com/shopping/products/1054-secret-chambers/
  2. Bass bow advice

    Learn something new every day! bit of a description here: http://www.masterhandviolin.com/Blog5.html " Deciding between brazilwood and pernambuco is not as cut and dry as it may seem. Both should come from the same brazilwood tree in South America (although sometimes wiley companies try to use an alternative brazilwood tree for brazilwood bows). The difference between the two bows comes from what part of the tree the wood is taken. Pernambuco comes from the denser, slow growing heartwood of the tree, and brazilwood comes from the less dense portion. Thus, the quality of either stick is still on a scale with not much difference between a high end brazilwood stick and a low end pernambuco stick" I guess my wooden bows are on that boundary. It also says " The major drawback to carbon fiber is that it tops out earlier than pernambuco, so bows in the $1000+ price range only rarely include carbon fiber as an option." Which is not totally true any more and also reflects the fact that carbon isn't a near extinct, and collectable, material.
  3. Classic walking bass lines?

    Ahh.. the very great Barry Guy. Went to see / hear him once with the equally great Evan Parker. Briliant players but every time they (accidently?) played anything tuneful they backed off as if stung. Determinedly discordant and unstructured. I also have a recording of him playing John Dowland (in darkness let me dwell) with John Surman and various early music people (Barry does keep going wierdly off piste, even in this); a man for all seasons ... but not all of them nice to listen to! I think this is maybe something to approach AFTER you understand all the theory and can play a walking bass blindfold and with your ears plugged. Meanwhile I've ordered a copy of the magnusson book!
  4. Mini Bass anybody??

    Watching kids struggle with full scale basses (they cant reach far enough to play in proper positions and have to move their whole hand up and down) ... this is SUCH a good idea. Sold for £74 to some lucky (young .. one hopes) person.
  5. I love controls 15= "singer mute" and 16 ="drummer tempo". Brill.
  6. Bass bow advice

    eBay pernambuco is likely not pernambuco but some generic tropical hardwood aka "brazilwood" that's less dense and less springy. I have two cello bows and a bass bow that all claimed to be pernambuco and I think one of them really is; none of them that special and I prefer the carbon one.. but I do like a bright, clear tone. Go try.
  7. Bass bow advice

    There is a HUGE variety in the quality of fiber bows - and bows make a surprisingly big difference to your sound: .... from cheap chinese ones (which may not even be actual carbon, more "composite" and sometimes with a metal core) up to the Arcus S8 which is nearly £6000 of hand made, hollow carbon tube, with gold trimmings. I used a cheapish but OK ish (I thought) "brazil wood" bow for years then ( hovering around classical grade 7/8 standard ) decided I needed a better one and bought an Arcus S3 (£800 from Bassbags), which is fantastic and was a revelation. It is so nice (well made, comfortable to hold and a clear bright tone that's perfect in an orchestra), my teacher went out and bought one himself! To be fair the old wood bow was much improved by better rosin (Nyman) and would be improved more again by new hair (which it's not had in 20 years!), but it's too soft and it dampens the sound too much. Now, I'll admit, I've never played an £800 wooden bow so can't really say if my carbon bow was good value. Some people swear that a £500 carbon bow is the equal of a £2000 pernambuco one; others say carbon will never be as good as a good piece of wood. There is really no substitute for going to a bass shopp(e) and trying a load .. but even in Middle England, it's hard to find anywhere with a decent range, and the people who stock antique wooden bows (eg Turners, Tim Toft) don't stock carbon bows (I wonder why!!). So in Stirling you may be faced with buying a few on trial and sending most of them back ... I really should have done that, but the Arcus was just .. perfect for me, really; so I stopped looking. PS: Why German? I've always played French as I'm also a 'cellist and German bows seem just ... weird to me.
  8. Hey folks look at the knobs on this!!!!!!! https://www.ebay.co....ckAAOSw0xRZoy7F Ebony, carbon, ebony, yet more ebony and more electronics than you could shake a soldering iron at. Bit pricey tho.
  9. Slapping the G string?

    Stan Clarke manages it and I've seen Victor Wooton do a complicated slap and pull move on the G, this guy too: 1min23s in: https://www.youtube.com/watch?v=XZoZ7bDv7Gc You can thumb slap all over the instrument. Never works as well as on the lower strings, I think because the lighter upper strings haven't enough momentum to bounce off the frets. I can do it on my dolphin, but not sure quite how .. I think it's a matter of hitting hard and fast with the boney bit of your thumb joint and letting your hand bounce off again before the harmonics set in. Go for a fret that doesn't have a natural harmonic if poss (fret 27 on the dolphin is pretty good that way). The main problem is probably damping the other strings whilst hitting the G which is helped by the Mark King style of wearing the bass in your arm pit and angling your thumb up onto the strings from below (looks terrible IMHO and makes switching back to fingers too hard). I'm now having your harmonics problem trying to tap (ie hit the strings with finger tips) which allows for great percussive chords - but get a totally different chord from a a tap than from a pluck ...
  10. Saggy neck help please

    Could you get it planed flat - ie take some of the scoop out of it. I guess it depends on the quality of the fingerboard wood - but if it's dyed pale wood (I doubt it's ebony on a laminated bass) then I guess the planed bits could be stained dark again. I remember when I bought my bass (many many years back) the "shot" the board (which IS ebony) to make it work better for jazz (flatter now .. but still quite scoopy).
  11. Wells bass workshop!! I've been trying to find out about this but can't find anything on line at all (apart from old listings of past events that is) David Heyes appears to have gone nomadic with workshops in York and Glasgow ...but no info about 2017 / 2018. Anyone got any links? Wells is a way from my house, but maybe worth making a weekend of it. April 15th in the diary ..but it's still a long way off and who knows.......
  12. Christian McBride

    Well, nice to know I'm doing all the right things ....but still don't sound anything like Christian McBride :¬( he doesn't move his hand much and says not to pull the string back like you're firing an arrow ...but the string certainly moves a lot! Big strong bass player. Love it.
  13. Very nice with a double bass (mellow and accurate at the same time)... and a total bargain at £185. £400 new! I've used one of these at Jazz sessions and had I not acquired my PJB flightcase earlier in the year would probably jump at this (good bit louder than the flightcase too)..
  14. Warwick players...

    Dolphin Pro1s DO generally have pesky little dolphins up and down the fingerboard, and the fingerboard is usually wenge. This one has an ebony board and no aquatic mammals. Bloke who sold it to me reckoned it was a custom shop special. As it's all ovangkol and ebony I wondered if Warwick were fresh out of wenge when they made it. However, other basschatters who examined it at a bass bash reckoned it started life as a fretless (there is a tiny shim under the nut and the frets are stainless not bronze). Whoever put the frets in did a magnificent job and I do like the ebony board, so it doesn't bother me in the slightest. Sounds great, huge range of tones, sustain forever and very comfortable to play (though my stubby fingers struggle with half position a bit). Wish the hardware was black not gold tho. ... and I promise I only play it with my shirt on ;¬)
  15. Warwick players...

    1. Here's My Dolphin Pro 1. 2. Never heard (of) Ryan Martinie before today ... what a great bass player and how good to hear someone playing a great bass well. 3. The ebay corvette looks very good indeed. It's "only" a bolt on of course ... but then, so is my Wal! Anyway, it's good to find people saying good things about Warwicks, as I've spent too much time on Wal forums recently, where Warwicks are considered the spawn of the devil ... probably 'cause the Wal owners are worried they paid so much when a beautifully built pro-shop warwick would have cost so much less (2nd hand, anyway)! The fact that Warwicks do not hold their "as new" value is a constant mystery to me .. but whilst that is bad for collectors, isn't it great for those of us who want to play them :¬)