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TKenrick
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Everything posted by TKenrick
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[quote]If I can sound like a bad mother****** acoustically then I know I'll be even badder once I'm plugged in.[/quote] This is what I'm going for - a lot of the gigs that I do involve kit sharing or running my bass through my D.I and then through a P.A, so I'm often confronted with unfamiliar amps. My reasoning is that if I can get the sound that I want out of my bass without an amp then when it's time to plug in I can still sound like 'me' without too much tweaking. I also find that I'm much more aware of fret buzz and other faults in my playing when I'm unplugged. Of course this issue is, like a lot of things in music, entirely subjective - I'm not suggesting this works for everyone, and of course being able to get good sounds from an amp is an extremely worthwhile investment of time. I just find that practicing unplugged has been beneficial to my playing.
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Yeah I finally took the plunge and bought a double (the pic is reversed for some reason), but it needs some work doing to it so I haven't been able to play it as much as I want to. I'm resigned to the fact that i'll have about a year of not being able to play it in public due to sloppy intonation... As for gigs I've got nothing in london for a while, if all goes to plan I'm moving there in october so we'll have to sort out some kind of convention for tall bass players called Tom. Hows Maxfield/Silver Leaf stuff going? easy now, Tom
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I tend to do most of mine unplugged in order to try and get the best sound possible out of just the instrument and my fingers. Having said that, playing through an amp is great when you're working on new techniques to make sure there's no unwanted string ringing going on.
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Bass Day '07 cured me of slap bass tourettes forever - in the time it took me to walk from the main entrance to the back of the hall (under 30 seconds) I was sick of the sound of constant slapping coming from almost every stand. Luckily I was manning a stand at the back of the hall, away from the majority of gear stalls, but the whole experience felt like spending a day locked in a staple-gun factory...
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Just had a look at my maple neck MIA deluxe jazz and it's a close call, but no lacquer on the actual frets. The frets themselves are terrible quality, I've had it two years and its in serious need of a re-fret already. Jap fenders all the way for me from now on...
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Aah bassko, so much money saved on instructional material... I've started posting jpegs of my transcriptions on myspace as i don't have a website and couldn't think of a better way to do it for free. I should be adding more every week once I get round to converting all my sibelius files. There's a few ones up already, www.myspace.com/tomkenrick then click on the photos and there's an album called transcriptions. Enjoy!
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Generally I'd advocate practicing standing up over sitting down, as standing minimises the temptation to slump over the bass or bend the wrists excessively. One thing you could try is practicing in front of a mirror, checking your stance at regular intervals to see that your weight is equally distributed on both feet and you're not raising your shoulders when you play. As for seating options, I use a kneeling chair (google it to see what I mean) so I can have the bass in exactly the same position as when I'm standing. If you're sitting down on a regular chair, wear a strap and have the bass resting on your left thigh. If it's not the right height either adjust your strap, use a footstool or put a cushion under the bass. This means that you're not having to use your body to balance the bass, leaving your arms free to play. One last thing - regardless of whether you sit or stand to practice, think about the height of your music stand. Things get difficult if you're tall and stand up to play, as many music stands don't go high enough to allow you to have the music near to eye level to prevent lots of neck bending... Here endeth the sermon.
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Don't forget that posture and hand positioning are a big factor when talking about playing-related pains. Check the way that you sit (or stand) to practice, and try and make sure that your body is as balanced as possible - weight equally on both feet, straight neck, level shoulders, keep your chest open and try and minimise any bending in the wrists. Try to be aware of any tension that you might be holding in your neck, shoulders or arms, as this won't help things either. Check out Dave Marks' 'bad habits for bass' videos, there's one explaining why you shouldn't use one finger per fret when playing in first position. Other than that it's just a big +1 on everything Bilbo said in his post, particularly about checking out Alexander technique (and playing more jazz!)
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Haha Steve your request is duly noted! Unfortunately I'm currently burdened with a dissertation until the end of July, but after that normal service will be resumed and I should be able to post new stuff on a fairly regular basis. In the meantime I'll look through my old transcriptions and post any that might be of interest.
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'Muted Grooves' by Josquin Des Pres is pretty good for right hand techniques as far as 16th-note playing and ghosting is concerned. You could also try to find the Rocco Prestia instructional video which has some great stuff to practice in it.
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Here's a little bit of Anthony Jackson for you, from the Chaka Khan album 'Naughty'. Questions, comments, criticisms and suggestions are all welcome... Enjoy!
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Ain't nobody's a classic- but it's not Anthony Jackson on bass, its Greg Phillinganes on synth... sorry for being such a geek! I'm currently working on a bunch of Chaka Khan transcriptions from the 'Naughty' album, i'll post 'em up as and when they're done.
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PMs replied to, thanks for the offers (particularly those of limbs and sisters...), it looks like we have a winner! -
Having looked at other stingrays on eBay and elsewhere it seems that the going rate for a regular SR 5 is about £800-850. Due to the fact that this is a rare one (and in great condition) I was looking for offers around £900, or a trade of similar value.
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It is with great regret that I'm selling my Musicman Stingray 5 (with hard case) due to growing debts and the fact that, in spite of trying, I'm really a Fender man at heart... The bass is a 2004 model, I've owned it for the past two years, it's been rehearsed with plenty and gigged a few times but is still in extremely good condition, the only cosmetic faults are some small pick marks on the scratchplate. The finish on this bass is called Copperhead Bronze (the scratchplate is made from a piece of copper), which was used for a limited run of instruments made by Musicman for the NAMM trade show. According to Ernie Ball Customer Services there were about 100 made, which were then sold onto Guitar Center stores in the US after NAMM. This is one of the most eye-catching basses I've seen (apart from my bright orange jazz...) and I'm sad to see it go. I'm looking for a sale rather than a trade, but I'm open to offers! [attachment=8010:IMGP2967.JPG] [attachment=8011:IMGP2962.JPG] [attachment=8012:IMGP2960.JPG] More info/pics available on request, here's a link to a thread from the EB forums that has some good pics of another copperhead SR5: [url="http://www.ernieball.com/forums/music-man-basses/31329-unofficial-le-bass-copperhead-bronze.html"]http://www.ernieball.com/forums/music-man-...ead-bronze.html[/url] cheers, Tom
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Here are some jpegs of the transcription for those who want it, I've used it before and it seems to be accurate... [attachment=8006:MMNM1.jpg] [attachment=8008:MMNM2.jpg]
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Hi Gareth, I'm pretty sure I've got a transcription of it somewhere, it's taken from the Bassplayer issue but is only in notation, no tab. PM me your email and i'll scan it and send it over. Anything to spread the gospel of Anthony Jackson... cheers, Tom
