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I think all the good, perhaps obvious, stuff has been said about the true listening audience for advanced bassists and the actual size of their very specific demographic... being a solo bass type is no quick and easy path to mainstream success and a steady income BUT.... personally I've genuinely noticed the general standard of bass playing being a lot higher, albeit technically better for the most part, but I've seen a lot of accomplished bass players at all levels. This is just my personal observation but twenty years since Wooten, Manring, DiPiazza, Garrison, Feraud (and obviously Jaco and many others before them), have been heard by millions of players and listeners around the world... I think whatever outlandish or impractical approaches these advanced players have created they've undoubtedly inspired countless players to practice and push themselves that bit harder. Perhaps that's their greatest achievement..? (or not!) Just 0.02p Mike

these guys are great live but their albums can be a bit hit and miss, the ones to check out are Give and Suspicious Activity, but their more recent one Prog had a great tune on it called 'Giant' have a listen [url="http://www.imeem.com/jazzfrisson/music/1fKLzyVi/the-bad-plus-giant/"]here[/url] And I also interviewed them a couple of years ago, [url="http://www.youtube.com/watch?v=QU_TGA4J_r4&feature=channel_page"]have a look here[/url]. Mike

I've been using light strings for years and I've always thought I was being a bit of a wimp but having sorted out this little endorsement with D'Addario I got to try a whole load of differnt gauges, both steel and nickel coated, and the end result is that I've found I really like extra light 30-110 on my five string but 35-95 on my new four string. In practice I've found that with the bass turned up and EQed correctly you can get a really great sound, good technique helps too, I find my 'ghost notes' pop out more because there's more flexibilty in the strings, while heavy gauges really restrict your dexterity on the low part of the neck, as when playing low notes on a tricky bass line. I came to the conclusion a few years ago that I just don't see the point in making life hard for yourself? As long as you have a good useable tone and feel free to play the way you want to, I don't think it matters. Two of my favourite players, Michael Manring and Franc O'Shea, use very light strings and they sound amazing

[quote name='Machines' post='519553' date='Jun 20 2009, 08:15 PM']Love that tone, was it DI'd ?[/quote] Thanks guys, yes the bass was DI'd via my Mackie soundcard, and for what it's worth this is its very first recording too, glad you dug the tone I'm so chuffed to finally get this kind of classic slap tone. Thanks for all the positive comments, it really is a great, great bass. Cheers Mike

[quote name='iamthewalrus' post='518891' date='Jun 19 2009, 09:55 PM']I've been following this build with great interest, & I must say that is an absolute stunner! Any soundclips in the offing? Cheers, iamthewalrus[/quote] have a look here for some sounds [url="http://basschat.co.uk/index.php?showtopic=52303"]http://basschat.co.uk/index.php?showtopic=52303[/url]

Hey BCers Just wanted to start a fresh thread for my new Sei Jazz - I'm going to take some better pics soon but I made a video and used Logic to record the audio properly - I've added an MP3 version of the clip as well - anyway she's a beauty full review coming soon as well - enjoy. [url="http://www.icompositions.com/music/song.php?sid=116535"]Audio clip version here[/url] Here's the spec again: 4 string 24 fret maple neck - bolt on. Birdseye maple fingerboard Ash body Absolutely stunning American spalted maple top Ramp with top wood on it Red LEDs along top side of finger board. Abalone markers on the board Black hardware Bridge TBC Electronics - Glokenklang J bass Pickups - Nordstrand NSJ4 Hipshot D-tuner Full spalted maple facing on the headstock with Sei Bass 'curve' design. Flamed Bubinga Ramp Cheers Mike

Hey chaps - quick update Just used the bass for the first time at a rehearsal last night with my funk band and boy does this thing kick ass in the tone department... it's a monster. I even used my EBS Octabass pedal for a couple of tunes and thanks to the super tight bridge pup tone the effect sounded so fat it was unbelievable. I wanted this bass for more groove orientated stuff as I hope the fingerstyle tone would have some real balls to it, and hey it does! It sounds so good playing funk on this bass I'm really blown away - I'm playing at the Taste Of London Festival tonight at 7pm with the same 7-piece funk band - feel free to come along - it'll be my first gig with this bass. I plan on getting busy with the camera this weekend but I'll post some pics in the Bass Porn section Cheers Mike

[quote name='Mikey D' post='516425' date='Jun 17 2009, 02:14 PM']He is possibly my favourite improviser on any instrument and as such for the past few months have been approaching my soloing/improvisation practice from his point of view. A lesson here basically describes it: [url="http://www.guitarplayer.com/article/get-zone-intriguing/jun-08/36177"]A Wayne Krantz Lesson[/url] I've used the concept of restricting myself in many aspects of my practice, but not to the extend that Wayne describes here and in the zone restriction manner than he has laid out. I've just ordered his Book the Improviser's OS and look forward to seeing what else it contains. I suppose this is quite similar to Gary Willis' fingerboard harmony approach, but not allowing a shift out of the 4 finger range. I believe the guitarist Mike Outram (as well as many others I assume) have used this approach. What do you think?[/quote] Having seen Krantz at the 55 Bar in New York - with Keith Karlock and Anthony Jackson (yes it was mind blowing!) - I'm definitely a fan of his style - and his improvising is just incredible in terms of how he develops an idea and runs it into the next one with a natural flow. And all I heard him say to AJ before they started playing one tune was... "play something in F." So in relation to his single key/chord approach and limiting his creative space on the fingerboard I think it's all good - Wooten demos a similar idea on his Groove Workshop dvd where he limits himself to a certain number of notes, say 1,2, or 3 and plays with the timing and phrasing and placement of each - with really cool results. Any strategy that gets you away from your stock lick and into new territory is great - it's just a case of making a concious effort to do it! M

[quote name='wateroftyne' post='517151' date='Jun 18 2009, 08:59 AM']I feel for you, man. When my 'main' band split earlier this year, it left a hell of a big hole which I suppose I'm still trying to fill. Since then, thankfully, I've been able to work often with people who are as enthusiastic as I am. It must be frustrating to look forward to something only to end up playing with dreamers and lazy gets. But don't worry! There are enthusiastic people out there. Take a break for a while.. something will come up that's right for YOU. Whatever you do.. don't sell your stuff. Enjoy your holiday, and good luck with it all![/quote] +1 Sounds like you need a break - I'd done the same band in different guises/line-ups for about 4 years and got exactly nowhere with it - typically after first joining on the promiss of label interest / good management - yes those old chestnuts! After that fizzled out I made a decision to just play the music I wanted to play after that - in my case funk, jazz and world music stuff - and while there are still quiet periods and plenty of ups and downs, I'm so much happier as a bass player and feel like I'm actually playing music I love, believe in and in turn it's actually improved my playing too. Hang in there - don't sell your gear as if you suddenly get your enthusiasm back you'll only have to buy it all over again! Maybe that would be fun though... Good luck, chill out and don't think about it too much Cheers Mike

His technique is ridiculous - but where's the music? I saw this guy demoing Epifani amps at the Messe last year and he had the most horrible, clacky tone, that did nothing to really show off the virtues of the Epi sound - Nick Epifani didn't book him again this year M

For what it's worth this is a 33" scale Sei 6 and having played it I can assure you it felt and played beautifully - and with less stress on your arm due to the slightly shorter neck it makes getting around all 6 strings a lot easier - even I loved it and I really don't get on with 6 strings usually: This is one of the nicest basses Martin has made - it has a Mike Pope pre in it with Nordy pups - the sound is massive, with a lovely warm fingerstyle tone... Mike

[quote name='DanOwens' post='511709' date='Jun 11 2009, 11:19 PM']Thanks Mike, So you're punching in and out with millisecond-accuracy, otherwise surely it would eventually become out of sync with the tempo-locked BFD? Or do you tap-tempo and it punches in and out in time with the bpm you've tapped (which would be marginally better)? I know you can hack a jamman to be tempo synced, just wondering if this was the case as my drummer (in my odd darkjazz band) is on click and we're talking about doing some onstage looping (too many instruments, not enough players). Dan[/quote] In a nutshell Dan I'm looping this stuff as accurately as I can - it does take a bit of practice - the one key thing is to hit the 'stop' loop function on the '1' of the completed loop cycle - as you need the full value of the last bar of your phrase... it's interesting to do really spacey loops to practice this - counting in your head the full value of each bar, and leaving big silences - shows up the weak points in your timing really fast that does! So in short these loops are in time because I played them accurately, hacking things to artificially snych them sounds way too complicated for me! The Boss RC2 does have a tap tempo and does do a weird thing sometimes when you play a loop without a beat and somehow it approximates the tempo you are in - so when you hit the 'repeat' function a beat will come in - not sure how that works but it can be quite accurate... anyway it's a good pedal and I recommend it - it's very versatile and the sound quality is great too. Hope all that helps Mike

Hey, just got back from Morocco, I had NO problems at all with taking my bass on the plane there and back ... Had a wicked gig and two nights of fun in Rabat, we played to 1500+ people in a castle... a stunning location. And the Sei did the business and didn't suffer in the heat either, phew! M

Small update I called Royal Air Moroc this morning and they said it's fine to take it on as hand luggage as long as the weight is under 10kg which I think the bass is, so hopefully that'll be fine, I really don't like the idea of the bass in the hold... Anyway I'll let you know how it all goes. Cheers M

[quote name='steve' post='510183' date='Jun 10 2009, 02:14 PM']One of the best I've seen on here for a while IMHO, the headstock is a piece of art all by itself. I'll be lurking in the recording thread waiting for a vid or two![/quote] It really is a lovely, lovely bass - and typically Martin and John aren't resting on their laurels - among their forthcoming beasts is a *get this* 7 string thru-neck Jazz with that 'other' spalted maple top wood (the blond coloured type, with dark natural strips running through it) - oh and a monstrous, chambered-body nine-string thing... plus a whole load of single cuts with the same spalted top wood as my Jazz... I love those guys Clips and stuff coming in a week or two - I'm planning to gig this beauty with my funk band a week Friday - I'll let you know how I get on. Thanks for all the nice words chaps - this bass is even nicer in the flesh - a real stunner in all departments. Mike

[quote name='OldGit' post='509434' date='Jun 9 2009, 07:44 PM']Steve Swallow [/quote] Definitely gets my vote... And the lovely Ruth Goller in Acoustic Ladyland - she kicks ass too:

Thanks Russ - I didn't hear about Dave's bass - sounds stressful! The whole thing is stressful actually - but I really want to take my Single Cut as it's good for all the stuff we're playing - I'll wrap it up tight in the case and hope for the best! I've read various reviews of the Bass Safe and most say it does a great job, one guy said he'd used it on hundreds of flights and had no bother... a couple said the latches were crappy and broke. The other tip someone mentioned is loosen the strings off as they can snap/and or snap the neck... Oh well - we'll see - it's going to be interesting, and seeing as this band is likely to do more stuff in Europe it's all good experience. I'll let you know how I get on... and how many pieces my bass come back in! Lucky I got a new one eh? M

Hey man - good advice As it happens I'm off to Morocco on Saturday to play at a festival and I've kind of resigned myself to putting my bass in the hold as an extra seat is out of the question - I've been told I could chance it and take the bass on as hand luggage (I've flown a couple of times this year already and seen musicians on various flights bringing different instruments into the cabin) - but I was warned that while they might be OK with this on the outward flight, they could insist on the bass going in the hold on the way home. The good news is that I bought a Bass Safe a few years back when I flew to Thailand and it worked great then - it holds the instrument very securely inside it - and is less likely to 'accidentally' open during the flight. The only paranoid thought I have then is "what if they lose the damn thing...???" - but I already had that when I came back from Thailand, and BA actually delivered the bass to my door the next day and saved me the hassle of dragging it back from the airport...! Any thoughts on my trip would be appreciated - I'm insured through the MU and fingers crossed it should all be fine - it's just pre-flight jitters on my part - I'm sure it'll be OK! Cheers Mike

[quote name='EBS_freak' post='509913' date='Jun 10 2009, 09:33 AM']Nice. We need a full body to headstock shot though! I didn't appreciate the spalting in the body til the close up shots! Bet you haven't got any sleep! Hows the preamp working out then? Good choice?[/quote] I slept fine actually - I was exhausted after too much work and running around London to collect this baby! The circuit is really really nice too - I've only blastd it in the shop so far and the old Jazz slap tone is immense - the fingerstyle mode is lovely too - had a good play on it this morning and it feels great to have a four banger again! And what a four banger she is... that top is just well, stunning. It's a very lightweight instrument as well - really comfortable to play. better pics and vids to come in due course - I will do full length shots as soon as the lighting permits - it's a very compact bass as it goes. Mike

OK - she's done! I called Alex earlier today and asked if the bass might be ready for Friday... well he emailed back about an hour later with the news it would be ready today... sooooo, turns out I finished work at 5pm, pegged up to Camden and back and beat the bloody tube strike and here she is... my absolutely stuning Sei Jazz - [b]it's pretty much exactly as I envisioned it [/b]- but so lovely to play, sounds huge, and looks, well, you tell me Enough talk already - I'll do a full bass porn thing when I get a chance to take some better pics - the ramp is made of a lovely pice of flamed bubinga by the way... Yes, I'm a happy bass bunny tonight Mike

[quote name='DanOwens' post='508360' date='Jun 8 2009, 05:24 PM']Also Mike, How are you syncing your loops? Dan[/quote] Hey Steve, the lead effect on the bass is my EBS BassIQ, I use it with the polarity on the 'down' setting to get that more synthy sound. Dan, I'm using my Boss RC2 looper, is that what you mean by 'syncing'? It's cool because at least the BFD 'drummer' is on a fixed tempo, so the loop stays perfectly in time... it's not so easy with a real drummer Cheers Mike

[quote name='ped' post='506843' date='Jun 6 2009, 10:48 AM']Hi Mike, Ditto Duarte's comments - well it inspired me to pick up my bass and try doing something similar, albeit in a far more ham fisted manner. I have to admit I am not a fan of those sort of drum tracks though, I find them a bit grooveless, but that's just me! Keep them coming mate! ped[/quote] Hey Ped Thanks for the comments - I agree about the drum tracks but it's a tough one as getting a proper drummer to do these in a studio is something I want to do but is not something I can do for a couple of hours on a weekend... which is usually the time I get these days to record this stuff. But I know plenty of nice studios and several superb drummers - so I plan on spending a day recording real drums on this stuff sometime soon - but this will have to do for now Glad you dug it anyway and got you inspired to do something yourself. Re the 'minimalist' comments from Steve - that's something else I plan on trying as well - Ijust spent a few days in Norway at a jazz fest two weeks ago and they do spaciousness very very well indeed - I love it - and is the perfect contrast to hectic stuff like this... Thanks so much for all the comments - very useful and much appreciated - I'll be adding this tune a three others to an iTunes EP soonish so I'll keep you posted - got some more recording to d now Cheers Mike

[quote name='EBS_freak' post='506773' date='Jun 6 2009, 02:32 AM']Call me a little backward but wouldn't it be a lot better instead of relaying information to Nick, to give him the URL of at least this thread so he can see this stuff from the horse's mouth so to speak. I know if I was an editor of a magazine for which there is a lot of criticism and advice being given on a related forum, I would want to see it with my own eyes. In addition, it gives Nick the chance to interact with the guys coming up with the ideas originally.[/quote] Er, yes. that's what I've done. M

[quote name='The Funk' post='506762' date='Jun 6 2009, 01:46 AM']Would it be wrong to ditch my own 30th birthday party to go to this? I totally missed it tonight because of a work thing.[/quote] Yes, you can party all day tomorrow, Had and Linley are great, and it's their last night tonight M

Hey guys I just wanted to say I'm keeping up with this thread (just) and have been passing bits of info onto Nick, and hopefully the feedback you've all been given will result in more new ideas filtering through into the mag. I agree with the general comments about the gear reviews, so if there's a way to make them more credible then I think that's worth pursuing. To be honest I'm so busy with other stuff all this is really in the hands of Nick and the publishers, but I'd love to see it keep improving too. Cheers Mike