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ambient

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Everything posted by ambient

  1. I think what you don’t like about the sound is the reason people do. The envelope of the sound and the click is I think why people use them. I’m not a pick player. The only time I’ve ever used one was at uni, and that was spectacularly unsuccessful. The thing fell out of my fingers mid song and landed at the feet of the examiner.
  2. If you don’t like the sound of a pick then don’t use one.
  3. If you really want a Fender then buy used. I’m of the opinion that they’ve always been massively overpriced anyway.
  4. There’s an hour or so you won’t get back.
  5. Barely used. In like new condition with all original packaging, cables, carry bag and adapter. Price includes postage.
  6. I like Pearl Jam, especially Jeff Ament’s playing. I don’t see the point in smashing up gear. There’s a lot of people would love to own a decent instrument but can’t afford it.
  7. She could retune it. Depending on the setup, she might have a bit of fret noise, but I don’t reset my instrument up every time I change tuning.
  8. If she’s comfortable with it then why not? Why would she need to adjust at some time? I don’t get that. A lot of the metal bassists use non-standard tunings. I find strings will accept quite a bit extra tuning. My is currently tuned C F Bb Eb G C, I also use B G B D A D, and other tunings where the strings are higher than standard tuning. I love the way a bass takes on a different character when it’s tuned differently. If it works for you then do it.
  9. I was given this recently. It’s new and unused in its box, outer packaging. They're currently £135 at Amazon. I’d like £85 which includes postage.
  10. I sold some cables to Jim. A very straightforward transaction, no problem at all.
  11. Had an excellent experience selling a gig bag to Mike.
  12. Did your bass have any maker's name on it? It is a surprisingly good bass. I was playing it the other day, and I did a gig with for the friend who gave it to me.
  13. Bought early part of the year, and unused. £20 including postage.
  14. forScore works well. You can organise your charts into set lists etc.
  15. My bass is currently strung with: .100, .075, .055, .045, .029, .020. For me this works well. Just try a few gauges, see what works best for you.
  16. Excerpts of some recently recorded stuff set to some photos from recent travels. All recorded in real time with no editing.
  17. That’s a very good point there about backing up. I had a panic moment toward the end of my PhD work when I thought I’d lost the stuff I’d recorded over three very long years. Luckily it wasn’t lost. I learned my lesson though, and bought separate hard drive. I use iCloud too. it must be fascinating listening back to your old material. There’s something about recorded sound that I think is more nostalgia inducing than anything else.
  18. I ran a workshop for a group of music students on mastering recently. You're welcome to my Keynote slides and the handout I produced for them.
  19. I’ve read that a few times. I take it with a very large pinch of salt. When I was a student I was practicing for between 12 and 14 hours pretty much every day that I wasn’t in uni, that was for three years. I’ve easily gone past the 10,000 hours, I’m certainly not a master.
  20. D’Addario, buy a four string set and a separate high C, I generally use either a .028 or a .032, depending on the gauge of the other strings.
  21. I’ve been teaching music across a range of age groups at an academy school in the West Midlands. From the ten or so 6th formers, there was just one musician - a drummer, and one singer. In the other year groups there were maybe five students who could play an instrument, three of them were very good and enthusiastic. The head of music there blames Covid to a degree. Others are I think more into the technology side of music making.
  22. There’s a branch of BIMM in Bristol. You’ll probably also get students studying music in Bath gigging there too.
  23. I was given this by a friend last year. It’s possibly a Shine, though there are no identifying marks or labels anywhere on the bass, other than a ‘made in China’ sticker. I have gigged with it when I depped for my friend’s jazz band. It plays well and has recently been set up. It’s strung with a new set of D’Addario strings. The action is reasonably low, and the bass is very playable, belying its bargain price. It has a few cosmetic imperfections, though nothing that affects the instrument’s playability. it appears to have a rosewood fretboard, I have no idea what timber lurks underneath the paintwork. The bridge is of reasonable quality, the tuners do their job. Overall, bang for buck, it’s a pretty nice instrument. It comes with a Stagg padded gig bag. I would prefer collection from Sutton Coldfield.
  24. All are in excellent condition. Prices include postage. Janek Gwizdala: All the good stuff - £15 Bill Evans Trio: Artist transcriptions - £15 John Patitucci: 60 Melodic Etudes (For Acoustic And Electric Bass - Sold Janek Gwizdala: Iconic Lines: An Interactive Chronology of the Genes of Jazz Vocabulary - Sold John Goldsby: The Jazz Bass Book: Technique and Tradition - Sold John Patitucci: Walking Bass - Sold Mark Levine: The Jazz Theory Book - Sold Charlie Parker Omnibook: Bass Clef - Sold The Real Book - Sixth Edition: Bass Clef Instruments, Mini Edition - Sold
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