teej

[quote name='ironside1966' post='526815' date='Jun 28 2009, 04:29 PM']It depends on what type of music you want to play, I can see what you are saying in a folk, blues or jazz type venues and I will agree with but in your average pub or club where people just want to be entertained and have a dance then I stand by what I say. what happens if you just want to play rock and pop covers like a lot of duos. Most people would love to play with a great full band but it is not always possible. It is all down to the music you want to play and where you want to play it nothing to do with skill[/quote] Well, at the risk of labouring the point, what happens is you won't stand out - you'll just blend in with all the others. Fine if that's what you want, but I'd want to aim higher. And I don't think that it's just a question of material - White Stripes and Black Keys are pretty rocky and duos (admittedly not 2 guitars). But it's not necessarily about skill either - it's about imagination, and seeing advantage where others see limitation.

[quote name='northstreet' post='526759' date='Jun 28 2009, 03:14 PM']One of the bands I play in has just given up using backing tracks, for a number of reasons. First, you have no flexibility at all - you just play to the track. If the songs going well you can't extend it (and conversely can't cut it short if its bombing). And that leads on the next point which is you can't cover up mistakes - get out of step with the track and it's game over. And this will happen unless you always guarantee a decent sound - if you can't hear the track because the monitors aren't working one night.......... It's OK for a solo artist because you can work round these problems but if it's a couple of you, you will need to be almost telepathic. In my experience the drawbacks heavily outweigh the advantages. And then there's the point that playing bass against a drum machine is pretty soul destroying as all you do all night is count bars to make sure you know where you are. So that's why we've just recruited a drummer. Less more, more hassle maybe, but much more fun.[/quote] Amen Brother!

[quote name='ironside1966' post='526715' date='Jun 28 2009, 02:08 PM']Baking tracks mean a better sound which means more work and better venues, so why not.[/quote] Ah, I couldn't disagree with you more. Pre-recorded backing tracks always sound like pre-recorded backing tracks not live musicians, spoiling the sound of a good duo, and the more discerning venues won't want you. You just don't need them. Instead, either: 1) choose appropriate material, or re-arrange material to suit what may be perceived as the limitations of a duo (I chose not to see them as limitations but advantages, and therefore side-step the issue); or 2) get a lineup to match the material you want to play. There are plenty of hard-working duos out there doing very well without resorting to backing tracks, but using their own skill to fill out the sound. F'rinstance, as an upright player with a strong slap technique I can play bass and percussion at the same time. Don't ignore the possibilities of a harmonica (and/or kazoo) on a harness, or my earlier examples: the amplified stomp box, or the tambourine played with the foot. Each to their own, of course, but I just don't like backing tracks, and I think they detract more than they add.

Thanks guys, but no that's not it. I think I'm going to have to draw it... So, if that's a standard bass bridge on the left, my impression of what I saw is on the right: I guess the idea is that the strings slide across the bridge easier, and are therefore less likely to break at the bridge or warp the bridge.

I took my bass for a set-up this week and the luthier (Godfrey Shepherd in Lancing) showed me a bass he'd made - it had a very interesting bridge style that I've never seen before, a French technique apparently. Instead of resting in grooves cut into the top of the bridge, the strings were held in place by raised 'castellations' on the sloping side, a bit like stylised waves. I'm not sure if that's a clear enough description and I can't find any pics on the net, but if you can picture that, has anyone seen this anywhere, know anything about it?

Nothing to do with fancy headwear, the 'hat' in question is the one passed around by buskers to collect tips. Now in its 35th year, this is one of the most important festivals in the realm of Street Theatre. For 3 days The Lord of Misrule reigns supreme in Winchester and brings with him a vast court of highly skilled performers from all over the world. With small scale circle shows in the street, large scale shows in open spaces, crazy colourful walkabout, markets, wild revelling in a big street party on Saturday night, and a chilled out picnic on Sunday, this is well worth coming along for. And - IT'S ALL FREE! (but don't forget to bring a bag of pound coins to pay the acts with). [url="http://www.hatfair.co.uk"]www.hatfair.co.uk[/url] And we're on the Main Stage, Saturday Night (4th July), 9.15pm - [url="http://www.redjackson.com"]Red Jackson[/url]

[quote name='BarnacleBob' post='525385' date='Jun 26 2009, 09:49 PM']1 Why dont one of you take up the Bass? 2. Are their any particular reasons for staying a two-piece Nothing against backing tracks but you could be two thirds of the way to a full live band. BB[/quote] I'd go further - what's wrong with a duo (without backing tracks)? I do plenty of duo gigs (guitar, upright bass) without needing to resort to that kind of shenanigans. If you've got to add some percussion play a stomp-box or a tambourine with your foot. A small suitcase makes a great bass drum. People will remember that kind of thing and tell their mates. No one goes away remembering the great backing tapes some act uses. Plus you don't have to sacrifice your flexibility. I'd hate to be tied down to a backing track.

Pro upright player here I've been trying to figure out what to add here, because it seems to me that there are very many different ways in which to make a living out of music, and so far most of the replies are coming from a particular angle - the session player - and eminently sensible those replies seem to be, if that's the direction you're going in (and it probably is). However, I'm not. Much of my career is based around being a street performer, so the most important skill not directly related to playing ability is being able to get up in the morning - if I don't have a pitch because they're all taken, then I don't have a day's work. All the other non-music stuff already mentioned: people-skills, networking, appearance (ie one that's appropriate to the genre) etc are absolutely essential too. But Oscar's looking at musical skills - and here for me they're almost all performance related, since that's how we make our money, through tips and CD sales and how we get our bookings. Simply put, we've got to be able to put on a great show, anytime, anywhere. Reading is a big no-no, everything has to be learned off by heart or (as we do), understood and improvised. Flexibility here is not about being able to switch genres, but working on the fly, being able to extend numbers that are working, adding new directions, new areas of light and shade, even new segues, and cutting short the ones that are making no money. We work with no set-list and no arrangements, probably because we're that kind of people, but also it really helps when performing in a highly fluid and random setting, like a busy shopping centre. We work set-piece musical/theatrical gags into our performances, much like busking jugglers/escapologists do, specifically to loosen up the crowd and remind them that we want their money. None of the recommendations previously made are going to hurt, but may carry less weight if you're not a session-player. For instance, I've never been handed a sheet of music to play - on the contrary I have been asked at a West End audition if I can play without music. I suspect many BCers' favourite bass players work in a relatively small range of related genres: eg jazz/soul/funk, or blues/country/rockabilly (please insert similar rock example here ) - so diversity is very handy, but it needn't include stuff very far from your core genre. Looking at the original post, Oscar writes about transcribing and analysing pieces, and I'm sure that would be very useful: I'm about to do just that with a bunch of jazz standards that fit with my repertoire and I'm sure I'll learn a lot from the exercise, I'll certainly improve my reading (wouldn't be difficult!). So I'd say this: look at the history of the core genre that you're interested in and head back into it. Hopefully as a result you'll gain a really solid grounding and 'own' your genre.

I only gig acoustic upright (well, amplified acoustic upright). But I really want an Ashbory.

[quote name='bartelby' post='518722' date='Jun 19 2009, 06:43 PM']but remember the funny thing about regret is, It's better to regret something you have done, Than to regret something you haven't done.[/quote] Nothing itches like a temptation resisted, eh? But maybe I shouldn't have commissioned that fretted/fretless twin-neck all those years ago...

[quote name='XB26354' post='517624' date='Jun 18 2009, 05:35 PM']That's true when talking about forming chords, but the 5th is one of the strongest notes a bass player can play on (non flat 5/sharp 11) chords. It is the 2nd harmonic in the overtone series (I think after the fundamental and the octave) and also implies V-I root movement, giving a line movement as well as tension and release. Most experienced walking bassists prefer to play smoother linear lines (think of a bouncing rubber ball!) without too many intervallic leaps, though this is sometimes good to break up or build an idea collectively.[/quote] Yeah, I getcha... and, thinking about how I play, there's a very liberal sprinkling of fifths in there. Just felt like joining in the conversation

[quote name='dlloyd' post='516416' date='Jun 17 2009, 02:07 PM']The most useful notes to use to outline the chords are the basic triads... Obvious choices for the Cm7 would be the root, m3 and 5 of the chord (C, Eb, G). Obvious choices for the F7 would be the root, 3 and 5 of the chord (F, A, C) Obvious choices for the Bbmaj7 would be the root, 3, and 5 of the chord (Bb, D, F) Obvious choices for the Ebmaj7 would be the root, 3 and 5 of the chord (Eb, G, Bb) Obvious choices for the Am7b5 would be the root, m3 and b5 of the chord (A, C, Eb) Obvious choices for the D7#9 would be the root, 3 and 5 of the chord (D, F#, A) Obvious choices for the Gm would be the root, m3 and 5 of the chord (G, Bb, D)[/quote] Might I suggest (somewhat tentatively) that root, third and seventh are better choices than root, third and fifth? As the fifth is mostly the same interval, it's not getting us as near to the full chord as the seventh? Or is there another, better reason for choosing fifth? (I say this because I would use root third seventh if I'm forming a chord).

[quote name='hubrad' post='517517' date='Jun 18 2009, 04:16 PM']After a bungee-luggage-strap-in-the-eye incident resulting in an extreme detached-retina-eye-operation episode, I won't go near the things these days. The eye consultant at Leeds told me 1) if I'd left my visit to him another couple of days I'd have lost the sight in that eye and 2)He'd ban bungee straps if he could, as they were his most common cause of eye trauma. Ratchet straps are much more secure anyway. [/quote] omigod

Right thumb bitten by a rat trap I was setting for my chicken-run. That smarts.

I wondered about the [url="http://www.alesis.com/protrack"]Alesis Protrack[/url] , but I don't think it'll let you jam along to existing tracks, just record new ones. However, I could be wrong...

[url="http://www.fairplayreplication.co.uk/"]Fairplay Replication[/url] Used them for at least 10 years, I should think. Excellent service. Tell them I sent you!

Just bought an NS CR4M electric upright from Kev, who was kind enough to pick me up from Birmingham New Street and drop me off after. Friendly and interesting chap, we chatted about bass but soon moved on to books and stuff (including chickens!). Never felt any pressure or rush. Instrument was in as near perfect condition as anyone could expect. All in all a happy experience.

Curiously I can't get my head round Garageband, but use Logic Express which makes more sense to me. I'll get Logic Studio soon, it's now almost half price compared to a couple of years ago, isn't it? I've used a Tascam US144 to record the whole band live in stereo ('room' recording with 2 mics - a pair of matched Rode NT5s), or a Presonus Firepod (gives me 8 xlr inputs, and feeds them to my Powerbook as separate channels) for close-mic'ing. The Firepod has better mic preamps and has given us some great results, but the live tracks recorded on the cheaper, lower quality Tascam have come out superbly too: we took some time positioning the band relative to the mics to create the stereo image and get the correct levels, and just went for the take. We released the result as a CD (Walking After Midnight) which we sell for £10: 'Blues Matters' magazine just reviewed it, saying that it '...opens with a sublime version of Mississippi Fred McDowell's A Few Short Lines.' And that was one of the Tascam recordings.

My trusty '69 B&H Excelsior never fully recovered from 3 years of rockabilly with a volume-crazed guitard. Problem is, I can never send it off for the tlc it deserves as I need it to gig with. I'm having an incredible month work-wise and it looks like I could maybe afford to get a 2nd bass to fill in for a couple of gigs. Could probably go to a grand. I'm struggling with my priorities here, and I'd like to see what you think, (writing them down always helps me anyway). First, I'm a hard-working professional in the blues/swing/rockabilly field; busking and working a mixture of venues, and often using public transport and/or squeezing into a Sierra with 2 other guys, pa, guitars and amp, and small drum kit. I live in a maisonette with a moany downstairs neighbour. My Excelsior is really the ideal instrument for me to perform with, and so I'm looking for something to complement it rather than replace it. So, maybe something that would record better? But at just a grand would I really get a significant improvement? (difficult question for anyone to answer, since you haven't seen/heard my bass, I know). How about a 5-string? Never wanted one before, but just recorded a Townes van Zandt number, originally in D flat, transposed to G, where I couldn't go down to C, and the appeal hit me straightaway. The 5-string option was number one on my list, until this morning, when I started thinking about something like the NS Wav 4 - offering the advantage of size and the possibility of practice/writing/recording at home. But, I can see a problem for the couple of gigs I'd use it on during the Excelsior's repair/setup: I don't think they can be convincingly slapped - and that's a significant and money-spinning part of our show! Anyone know better? Any other thoughts? Cheers...

Yamaha Stagepas 500 - 2 cabinets with recesses built into the back: one contains the amp, the other has a lid and can contain all the cables. Small enough and light enough to carry one in each hand, and loud enough for us - but we're not loud. We put vocals, double bass, and sometimes a feed from the guitar amp into it. You might want to add monitors, but we just position it behind us, never had any feedback.

[quote name='teej' post='493096' date='May 20 2009, 11:13 AM']Hmmm. Think guerilla - location recording in a good cheap room. 2nd hand mac g5 or powerbook, firewire interface, external drive, mics etc. Not dirt cheap, but doable.[/quote] Come to think of it, even better might be find a good engineer with a mobile set-up. If you're in the south, how about Dave 'Chops' Wallace, top man: [url="http://www.musicandwords.co.uk/"]http://www.musicandwords.co.uk/[/url]

[quote]It depends on what you want to achieve. "Many thousands" is I reckon a minimum start-up cost, unless you're planning to start a so-called bedroom label and only handle production and distribution, in which case a few hundred, a telephone, a good internet connection and a lot of time is sufficient to begin with. But the minute you want to start paying to record bands, you're looking at big costs for studio time.[/quote] Hmmm. Think guerilla - location recording in a good cheap room. 2nd hand mac g5 or powerbook, firewire interface, external drive, mics etc. Not dirt cheap, but doable. Call in favours, barter, swap. But equipment is only a part of it. Maybe the least important. Branding will be essential - consistent name/logo/cover art that matches the genre(s) and intended audience. And the bands - we're back to square one, but now you're the hard-nosed industry guy seeking out the acts with good marketing skills themselves. The task is to get started. And grow. You'll be 'underground' - like '60s garage/trash/rock'n'roll, so part of your appeal would be that you don't have a perfect (over-) produced sound. Gradually you'll get better kit. Anyone know what set-up Richard Branson started with? If I remember right, he was selling Tubular Bells out of the back of his car. What about Sun/Chess/Stax? And early Jamaican labels? Lots of lessons there I should think.