tinyd

It depends on what kind of tunes you're looking for. If you mean "afro-cuban or bossa tunes that are often played by regular jazz bands", then the list is reasonably short and many of these tunes are included in the various real books that are available. Examples here include:- Manteca, Night in Tunisia, Caravan, The Girl from Ipanema, Favela, Desafinado However, if you're looking for a list that you could use to start a salsa band, then something like the Latin Real Book will probably be the best place to start as there are thousands of tunes to choose from. As an aside, the Salsa Guidebook by Rebeca Mauleon is a fantastic read if you want to get more into the history and overall feel of afro-cuban music. Sorry, I didn't really answer your question, but hopefully some of the above will be helpful.

[quote name='ambient' timestamp='1387204607' post='2309280'] I got an intellitouch PT10, it cost about £10 from Amazon. Also changes colour to green when you're in tune. [/quote] I've got one of these too - works fine for the low E and the colour change makes it really easy to read on a dark stage.

This book is a pretty good exploration of modal jazz and its influence on other music. http://www.amazon.co.uk/gp/aw/d/0571245072 I'm not sure if it exactly answers your question but I bet it comes close. ..

I have the tascam dr05. It's very solid and works very well, with a straightforward interface. I like it a lot for recording practice sessions etc. From reading the reviews it's very similar to the H1, but has better build quality and is a bit bigger.

[quote name='discreet' timestamp='1385907026' post='2293393'] So difficult to get hold of a decent drummer. The really good ones are always busy, so... it's a whole new thread in itself really. [/quote] I'm sure there are equally scathing quotes about bass players, but here goes anyway:- "It takes a pretty good drummer to be better than no drummer at all." -- Chet Baker

I agree that reverb doesn't sound like the remedy, but she might not be a million miles away. From her email it sounds like she's looking for a slightly bassier, 'dirty' sound. I obviously have no idea if her comments are valid, but it sounds like she's being constructive and polite so I'm not sure if the negativity from some posters is justified.

[quote name='Rabbie' timestamp='1383855470' post='2270128'] Brilliant tip, no shame in getting a bit of help with intonation on the gig: nerves and adrenaline can really do funny things to the old fingers and ears... Well mine at least. [/quote] +100. The fingerboard can seem huge and featureless when the pressure's on or when you can't hear yourself properly!

I'm using a Bass Max pickup directly into a GK MB150 combo. I'm sure that there are better pickups and amps out there, but I don't need much volume for gigs and I can always get a sound that's usable. I used to use a Fishman Plat Pro as well, but since I got the GK I find that I don't need it - the EQ on the amp is pretty good and allows me to 'dial out' the nasty mid range pickup growl mentioned by @mtroun. I think my next investment will be a new pickup but the Bass Max, while a bit unsubtle, works pretty well for me.

Cheers Clarky, it's always nice to get recommendations of stuff to listen to, especially duos and trios featuring DB. I've just found that album on Spotify so I'll be giving it a listen as soon as I get a chance....

[quote name='Bolo' timestamp='1382364545' post='2251199'] Jazz appears to be a field where highly skilled musicians prove to be very poor songwriters. [/quote] Do you mean actual writers of songs, or composers? If the latter, then I disagree - there are loads of beautiful pieces that have been written by some great musicians.

[quote name='bassace' timestamp='1382295579' post='2250329'] ...But a typical reaction often is 'I don't like jazz but I like what you play'. [/quote] A related thing that people often say is "I like some jazz but I don't like the really busy stuff". I think a lot of people like some jazz (ballads, slower standards with tasteful, short, solos etc). But everyone has a different threshold for when things get faster and more rhythmically and harmonically elaborate. That threshold can change with time - some of it is down to 'educating your ears' in that you can discern a bit more of what the musicians are doing whereas before it might have sounded like noise. But everyone has their own level IMO. The other thing that puts people off is the impression of elitism, but I have to say that although some people who talk about jazz can be knobheads, most actual musicians that I've ever met are extremely humble individuals because they realise that learning to play the music is a lifetime's journey.

I bought a tascam dr05 recently and I'm really happy with it. The reviews all suggest that there's nothing to separate it from the zoom H1; I chose it purely because the build quality is a bit better. The recordings are great with it (the sound quality, at least. The playing is another thing. ..).

That's some nice playing on that tune. My only comments aren't really related to the recording itself, but more to do with the music. Like lurksalot says, there is a lot going on in the tune and IMHO it would benefit from a montuno section in the middle where you settle into a groove (piano playing a montuno, bass playing a straight tumbao, congas and bongos more prominent in the mix etc). But maybe you're not going for that 'classic salsa' arrangement, in which case ignore what I've just said

[quote name='Coilte' timestamp='1380892000' post='2232007'] Miles' electric period divided his fans and critics alike, but he was never one to stay in the same place for very long...always had to be experimenting. [/quote] That's a good point - the "Plugged Nickel" live CDs are a great example of this. He took the standards that he'd had such success with, tore them apart, turned them into something new and then drew a line under them and moved on.

I like the album a lot, but I have to say that I much prefer Miles' last acoustic stuff that preceded it - the "second great quintet" albums like Miles Smiles have never been bettered by anyone IMO.

[quote name='neepheid' timestamp='1380887932' post='2231921'] I'm glad that you feel it's working out for you and you should definitely keep on doing what you feel is best, but seeing your band live would irritate me because I would be hearing sounds that I cannot attribute to someone performing an action of some sort other than pressing a play button. Sorry about that. That's all I've been saying all along. [/quote] I agree in that I usually find bands with backing personally irritating to listen to...having said that though, I was at a New Year's Eve function a few years back and the band (backing and all) were excellent and I had a great night. So maybe there are times when I need to bury my "inner muso" and just have fun

Of course, the only way to be 100% sure is to immerse your DB in water and measure the volume of the water that's displaced

[quote name='Clarky' timestamp='1379933774' post='2218313'] If anyone wants to hear the difference between some of the strings mentioned above, this is a great site. Click on the link called Saiten (strings) and there's a grid of various string types, played different ways (walking, groove, long tones etc) [url="http://www.hervejeanne.de"]http://www.hervejeanne.de[/url] [/quote] Thanks for sharing that Clarky - it's great that someone has taken the time to be scientific about it. It would be great if there was a "Pepsi challenge' option where you could listen to a few clips, pick your favourite and then it reveals the string. Thanks again

[quote name='ChrisF' timestamp='1379945762' post='2218531'] I think, just like most things in life, the "mystique" surrounding the DB is mostly a lot of rubbish. There are obviously some things best left to a professional... fingerboard reshaping comes to mind, but most things are well within the scope of anyone with a bit of common sense. [/quote] It's funny you should mention that, because fingerboard shaping is exactly what I'm going to get the luthier to do....it seems like one of those 'proper' skills alright.

Hi ChrisF - yes, I think so, and yes to your questions. But I don't know much about DBs and I've not really played any others for any length of time so I was a little bit worried that I was missing something...but I think I should stop being a drama queen and just get on and play the thing. Thanks!

Thanks henry - I must say that I prefer the second explanation It did occur to me that maybe Shen basses weren't as well know back then and maybe there was a general perception that all Chinese basses were of poor quality. Still, it seems like an odd thing to do but maybe not any more odd than people replacing Squier logos with Fender ones....

Hi all - I bought a second hand Shen 180 bass a few years ago and I've been plodding along with it quite nicely. I took it to a luthier today and he pointed out that the maker's label on the inside had been deliberately scratched off. I have the original receipt from the shop it was bought from, and from looking online the bass itself looks exactly like other Shens of the same age (12 years old). So, can anyone think of any reason why the label was scratched off? Has anyone heard of crappy companies creating clones of basses like Shens? The bass seems fine to me but there's nothing like a bit of paranoia to keep you awake at night...