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tinyd

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  1. They look really nice, and I can see the attraction of the smaller size relative to full-scale EUBs. Any DB-players out there - do you find that the shorter scale and lower tension means that if you "dig in" too hard then the Upswing can't really handle it? I'm not saying that you *have* to dig in to get a DB experience, but there are times on DB when doing so is the right thing to do....
  2. I think this is one of those cases where the sound is more about his technique than the bass itself per se. So I'd say any bass, probably with flats, with a middly EQ will sound pretty close if you can get that style under your fingers. [Edit]: Just remembered that I saw this video the other day which should be helpful
  3. +1 for The Jazz Bass Book by John Goldsby - not strictly a "method" book, but it does contain loads of great information and transcriptions from bass players throughout the history of jazz so you'll learn a lot from it. The Jazz Bass Line Book by Mike Downes is also a great resource. Lots of examples in different styles plus side-by-side comparisons between different players over the same tunes.
  4. I got my bridge adjusters fitted by Tom Barrett in Galway - he added them to my existing bridge. Might be worth getting in touch with him. http://doublebassireland.com
  5. Been listening to Pino Palladino's new album: and also this one from Sam Gendel from about a year ago: . Both very fresh-sounding (to me, anyway). The Sam Gendel album was recorded completely live over a couple of days
  6. The album is really good. Really varied and interesting and not at all a "bass players' " album if you know what I mean (although the bass playing on it is obviously excellent)
  7. I'd add Shen basses to the list - like the Stentors and Strunals, they can be affordable but are a significant step up from the cheap models.
  8. I guess it depends on what you want to sound like, but I think that trying to make your body position as close to how you'd hold a DB will probably be good in the long run, especially if you want your EUB to sound more DB-like (you may not, of course). I shared this video in another thread - different model of bass, but it may be relevant.
  9. Steve Reich's "Music for 18 Musicians" works for me - it has a hypnotic, repetitive feel, but it's rhythmically interesting and so doesn't feel bland (I find music that's too shapeless tends to be irritating and so jolts me out of whatever I'm supposed to be concentrating on....)
  10. Me neither - his point is a good one - just about all of the other videos that I could find have players playing them more like a BG and they therefore have that "giant fretless bass" sound, so maybe the easiest way to get them to sound like an upright is just to play them like one Anyway, his video made me want one, which is a bad thing, but I hope you get one and get the sound that you want!
  11. Not sure if you've seen it, but this is a good vid: He has some good tips on how to make a WAV 4 sound a lot more like a DB
  12. Indeed, but I think that in this case the other instrumentation etc are also pretty close to Song For My Father so it sounds to me a bit closer than just a general 'style' thing
  13. These are the versions I'm thinking of. Different key but pretty similar (although that bass pattern is used in loads of tunes)
  14. I'm pretty sure Steely Dan directly took their intro for "Ricky..." from Song For My Father
  15. The advantage that I see with learning more about "theory" is that it provides some shortcuts towards being able to play things that sound good, rather than just trying things out more-or-less at random until something sounds pleasant. But however you get there, it still all comes down to listening to the overall music and playing what sounds good to you. One other note: Full scales often sound a bit artificial if you're playing along, especially as many of the scale tones end up on weak beats. For jamming, the major/minor pentatonics, the blues scale, and the "bebop" scales are a more musical way to explore these relationships.
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