JamesBass

https://www.youtube.com/watch?v=beKbt1g8PO0

[quote name='pierreganseman' timestamp='1445883176' post='2895047'] I am in ... sputnik :-) [/quote] More details needed about the bass! And more pics

Limelight P bass? Or how about a Maruszcyck?

Snarky Puppy anyone? As a whole band the level of rhythmic is obscene and allows the roles to switch seamlessly from instrument to instrument to allow for solos and building of the song! https://www.youtube.com/watch?v=kk0WRHV_vt8 Pino and Steve Jordan? Their performances on Continuum, Battle Studies, and with the Trio are a fantastic lesson for who a rhythm section should work! This video - sound from correct gig, added to video from wrong gig - shows their mastery at work! https://www.youtube.com/watch?v=QjPyhksn2j0 Pino and Questlove? Chicken Grease instantly comes to mind when talking about how a rhythm section fit together, especially bass and drums, the way Pino sits behind the beat really gives this track its groove! https://www.youtube.com/watch?v=m4XI6LXCsH8

Get eyes on with the score and find similarities between the passages, it's something I do with scored pieces, especially if I'm reading through without my instrument!

It's nice to own something made by a luthier, especially if you spec it, but how many other people are going to spend that much money on the EXACT same spec you went for? Ultimately the price points at first purchase of a Luthier built bass and a mass produced one, is quite far apart, so in terms of depreciation, it's obvious the Luthier made bass is more likely to be a bargain, especially when it's competing with the original unaltered version in the market place, I mean yeah luthier made instruments feel superb, but does it feel twice, three times as good as a great off the shelf bass? Not likely. Then there comes the desperation for the sale, many seem to go from one high end bass to another on here, nothing against that, or even that there's anything bad about it! It's just something I've noticed.

How versatile do people find the LM, LG, and RA series? I want to add a very versatile 5 string to my stable, how do these basses stack up against say a Fodera for versatility?

Thanks chaps! Just checked out the Gedo basses, they look nicer than the Thomann ones, would be interested to somehow compare the two! MD doesn't mind either EUB or DB, personally I prefer the look of a traditional DB, EUB's just look incomplete to me! One things for certain, I'm damn excited for this new journey, I've played one for a few months a few years ago and it was lovely! Be good to get back to it!

So I've been approached to do a jazz/classical gig next summer, it's a couple weeks long and currently I don't have a EUB or DB, and the MD specifically wants one, so I need to finally get my self in gear and get one - been wanting one for about 4 years now - but I have no idea what to look for, budget is up to £1000 right now. So recommend away!

[quote name='FelixGubbins' timestamp='1445074488' post='2888568'] I thing in swayed to the P then, think I might give the jazz a miss as I do love the growl. Any opinion on the Ricky? What would out do to the slightly lacking low down punch? [/quote] It's an alright combination, but not the ideal one. You like your Jazz for the growl, what is it about the Ric you like? Many folk like the growl, so use rounds. I have rounds on my Ric, and have a P with flats on - TI JF344's - which doesn't give me a Jamerson esque thud, but it controls that top end and gives me a very "musical" sound, that is to say I can use the P with the TI's on in just about any genre.

[quote name='wateroftyne' timestamp='1444978689' post='2887729'] I play in a couple of covers bands (amongst others) with pretty wide-ranging setlists. I'm glad I have a choice of pickups, a tone knob and a pick, 'cos the same tone across all of them just isn't going to feel right. Most of the punters won't notice, but the band will. [/quote] Don't think Bilbo is saying leave the settings alone for every song, more that he won't spend LOADS of time to figure out the intricacies of the tone on the track, especially when a ball park area is good enough!

[quote name='TimR' timestamp='1444919367' post='2887354'] Yes. It's the equivalent of actors over-acting. You can't quite put your finger on it but it's not a natural thing. [/quote] On the topic of actors, you wouldn't expect an actor to be able to turn up to the first day of a huge budget shoot having only watched the directors previous films or having seen the 1962 version and expect them to know all the lines perfectly AND sound EXACTLY like Cary Grant. It's the same for music, guidance and direction is needed and so is the understanding that the Dep is not the bloke from the record, he may well be able to reproduce those lines on the album, but no matter how much you wish he could, he'll never sound spot on.

22 year old bass player available for Deps, bands, recording, and touring. Open to all genres. Have the ability to read and improvise on the fly. Has own transport and good gear. Contact me here, or via my website www.jamesfoxmusic.co.uk

[quote name='Bilbo' timestamp='1444899123' post='2887042'] I would have no problem learning one or two tunes but 40? It would take me weeks. As if I haven't got other things to do. My point is MY professionalism is drawn into question because I haven't got about 20 hours available to learn an evening's material whereas the MD's professionalism is NOT drawn into question despite the fact that s/he cannot be arsed or lacks the skills to put together a pad. For the record, when I did Karl Jenkin's The Peacemakers last year and Jesus Christ Superstar the year before, I spent hours with the pads making sure I was ready. The charts were perfect and I had something to work with. If I had just been given cds and told the 'learn it', I would have told them to f*** off. (Interestingly, on the Jenkins gig, I wonder how many of the 20+ orchestral musicians and 60+ choir members were given a cd and told to work out their own parts? (PS it was one gig on one night) [/quote] Spot on again Mr Bilbo. Why should we as Deps be told to learn a song from the tracks. That's a method that can take bloody hours for one song! If you're asking for a Dep the most professional thing to do is to ask what they would like in preparation for the gig. That's the LEAST I expect when talking to bands about Depping. [quote name='Muzz' timestamp='1444899905' post='2887053'] As a side note, I notice no-one's given any attention to listening to the tone used in certain songs...if you want to produce a convincing performance of a song, then at least an attempt to recreate the tone of the original (if it's at all iconic or distinct) is pretty important, which does require a listen. Punters might not care about our core bass tone, but they'll appreciate when a song played by the band sounds like the one they're familiar with. It's all about degrees, but if I'm following Never Too Much with Folsom Prison Blues, I at least have a twitch of the tone knobs... [/quote] Tone is largely inconsequential in the grand scheme of things. Yes it's pleasing to have it sounding perfect, but it never will as I'm not (Insert bass players name here) I'm me, I sound like me, but I can play (Insert bass players name here) lines pretty well.

[quote name='blue' timestamp='1444797798' post='2886067'] 5 a year might be a lot for some bands. Blue [/quote] That 5 isn't all for one band, I play in up to 5/6 projects, 5 a year is for all projects, so an average of 1 clash that cannot be gotten around.

[quote name='JPJ' timestamp='1444736274' post='2885416'] Finally, an update from Martin about his all valve bass amp [color=#141823][font=helvetica, arial, sans-serif]"[i]A long time coming but it's been worth it - the YI200 Stoneham 200w all-valve bass head, christened by this very group![/i][/font][/color] [color=#141823][font=helvetica, arial, sans-serif][i]This is the very first one off the production line, following some endurance tests you can bring your basses/cabs [b]up[/b] from next week to see what you think. RRP £1,499[/i]"[/font][/color] [url="http://smg.photobucket.com/user/JPJ/media/YI200%205_zpslyoprn6g.jpg.html"][/url] [url="http://smg.photobucket.com/user/JPJ/media/YI200%203_zpsegv7bdv4.jpg.html"][/url] [url="http://smg.photobucket.com/user/JPJ/media/YI200%201_zpsxyqxayxs.jpg.html"][/url] [url="http://smg.photobucket.com/user/JPJ/media/YI200%206_zpsfdy6wi1a.jpg.html"][/url] I'll be taking him up on his offer of a test drive soon and calling down to his new workshop for a play about. I'll report back later :-) [/quote] Fixed to suit us Southern based bassists

[quote name='Bilbo' timestamp='1444826872' post='2886422'] I have noticed a few threads where function band players are critical of 'Jazzer' deps who 'don't learn the set'. I am guilty of this. To be blunt, I don't even 'learn the set' of the function band I actually play in in as much as I regularly turn up at gigs to be presented with a chart for a 'first dance' song or a new addition to the set and am expected to deliver. There is always a tacit assumption that I will know the latest Jesse J. hit or Beyonce masterpiece but I don't; never heard it, probably never will. In strictly professional terms, the simple truth is that 'learning' a load of new songs for one gig is not economically viable. Spending the time required to learn anything up to 40 tunes for one evening's work is not realistic (I have even been asked to learn 40 [b]band specific[/b] arrangements from a cd for one gig, FFS, No charts, just hours of listening/shedding - I didn't do it, Busked the gig. Punters loved it. MD didn't and I never worked with him again which was ok because he was a rip off artist and has exploited hundreds of musos before and since). We busk it because, at the end of the day, it rarely matters and punters aren't really listening. Write out the dots if you want perfect arrangements flawlessly executed. I did a function recently and the MD had done exactly that and he got the product he deserved; a flawlessly executed set. Calling Jazzers to do Jazz gigs tends to be a safe bet as there is a common thread of material that can be drawn upon at a pinch. Put a 'Functioner' in there and they will flounder because they don't know the material. Put a Jazzer in a function band and you are likely to have a similar problem. The difference is, a Jazzer has a chance of having heard 'Signed, Sealed, Delivered' whereas a Functioner is not likely to find his way around 'Chelsea Bridge' by ear. At the end of the day the issue is preparation. Asking a dep to learn a set from scratch for one gig is an abdication of responsibility. 'I can't be bothered to write the charts out so you do it'. If you need a dep, either pay him to rehearse or get proper charts prepared. Simple as that. [/quote] Spot on! Punters don't care so long as they can recognise the tune, have a wail along, and drink while doing so! As for not learning songs, most songs are damn similar, certainly similar enough for a bass player to pick out the changes and structure quickly, the issue comes more so when the MD wants the EXACT riff from the record. At the end of the day a £50 gig, is a £50 gig, you're most likely down the dog and duck and everyones drunk, a few "Jazz notes" here and there aren't gonna harm anybody. The better the pay/communication they better I learn stuff. Poor pay and poor communication doesn't make me learn a thing.

I've played a few wals, never owned one, and never gigged one. But the wals I played felt great and sounded great. Would I buy one? Yes, if I had the money. It's not a burning desire but a curiosity. Each to their own though. Dave, what would you say is a bass with a great tone then? Just so we can see where you are coming from.

[quote name='blue' timestamp='1444727169' post='2885317'] I don't know, I've never done it. However it would be an interesting challenge . My problem is there as 're only so many Friday & Saturday nights.If you are 2 busy bands, of those bands would have to (and I've seen it) cancel some of they're gigs. Blue [/quote] Scheduling is the only issue, but lots of my gigs luckily fall on alternative nights, so there's never that many clashes, maybe 5 a year? I work on the principal of what's in the diary first is what gets played.

[quote name='Mickeyboro' timestamp='1444700077' post='2885191'] Doing it at the moment! A 'geriatric gap year' with the missus to celebrate retirement; 6 mths in Australasia and 6 in north America. Had bought a uke bass with the intention of turning up to jams etc but lack of a hard case (Harley Bentons are bigger) meant I opted for a mandolin. My wife plays concertina/sings Irish music so in theory I can accompany her. I have borrowed a bass for both jams attended so far... May buy a cheap bass in States when major flying is over. [/quote] Sounds awesome! How easy have you found it to get involved with music where you have no contacts? My plans are rather a bit bigger than this, I'm planning to work my way from east to west stopping in as many musically rich places as possible! Chunky I'll PM you this afternoon once home from work!

I'm currently working in/with 5+ projects on a full time basis. Gigs are every few nights if it's a busy patch, or they're only a few a month. What is it that you struggle to understand Blue? Is it the knowing multiple set lists?

Thinking about going travelling soon, and wondered if anyone on here has ever taken a bass and gone travelling with the intention of discovering music and learning about the local music?

[quote name='M@23' timestamp='1444588056' post='2884330'] That's a shame. I'm on the Isle of Wight, which is pretty good. Having two major festivals has helped, but we have a great scene with some great venues and brilliant bands. You should catch the fastcat and head over! [/quote] It's on the list to do for sure! I feel a lot of the problem with the Pompey scene is the abundance of DIY/Part-timer promoters and bands who don't take it as seriously as some people want to, which in turn creates some bad vibes between the venues, bands, and promoters as no one seems to take any responsibility in ensuring the gig is successful. Hey ho, I'm sure I'll find my way somehow!

I've had this problem for a number of years living in Portsmouth, only recently have I been in a position to venture further afield, and even now it's limited to how far and when I can get out the area. Down here the music is VERY same-y, that's not to say the bands aren't good, it's that the market is oversaturated by the same type of band and gigs all become much of a muchness. We have 4 distinct genres down here; British Rock, think The Who, Jam, Weller. Blues Rock, Metal (I'm gonna use a BIG brush here as there are too many bands that all sound the same but define themselves as different sub-genres), and finally Punk. This is outside of the general cover bands that do a bit of this, and a bit of that. Most bands die a death as they get a head of steam up playing 4-5 gigs in as many months then decided to work on new material away from gigging, then die from a lack of interest and ability to sustain the non-gigging times. I'm dying to go to a gig and hear some different stuff, it won't happen though.

[quote name='blue' timestamp='1444402158' post='2882984'] Something like that. And they would be right. Doing something you enjoy and are passionate about is always going to be easier then work you can't stand. Blue [/quote] Nothing easy about doing what you love. You just enjoy it more, what's wrong with that? People are too hung up on what they were once told to open their minds and embrace a new idea. I hate my current day job, it's monotonous and boring. But when I leave and go home to practice/learn some new technique/theory/write/go to practice/go to gigs, life becomes better. I'm happier and the people around me are happy. If you are lucky enough to have a career/job that makes you happy, then lucky you indeed!