Burns-bass

One of Janek’s favourite pedals and it’s 100% chaos. I have one!

1 hour ago, Rayman said:

Trouble is with elderly parents, the child has to grow up and take over the responsibilities, as the parents regress into a childlike state…. both mine did anyway, maybe it isn’t the same for everyone. Also my brother didn’t cope well with it all. So I definitely felt like I had to toughen up and support everyone, even though I was the youngest. Similar with my mate in many ways, I definitely became his big brother as best as I could. You’re right though, you still have to think about your own state of mind, and talk to loved ones about the whole thing, something I’m crap at. I definitely hold it all in. 

I wouldn’t discount professional counselling. Yes it costs money but 4-6 sessions can really help. (Disclaimer, I’m training to be a counsellor but speak for persona experience.)

Sometimes having a space to share ca be really positive. 

I sometimes gig with the guys in the pit at Bristol. They’re absolutely incredible players and lovely people. 

Make me an offer as I have no use for this…

Appreciate bows need to be tried but there’s enough margin in this for you to that pretty much risk-free.

Get yourself an Xmas present!

7 minutes ago, JPJ said:

I think the purists will say no, but I have them on mine as I’m a Newby to the big bass and I generally double between the DB and the fretless bass. 

I used to be a purist until playing a festival stage at night and having every member of the band laugh as I started a song a semitone up.

Much better you realised now than on a gig!

I have to stop playing too much. The Bluegrasss band has two booking agents and we’ve got 60 dates in the book, including 4 European trips.

As a result, I’ve canned all other projects (aside from a Blue Note jazz band) as it’s not fair on the family.

10 minutes ago, BigRedX said:

Have you missed out on any gigs because you didn't have a show reel? That's probably the most important question to ask.

 

If you do think you need one, then do it properly. A badly produced showreel will probably put more venues off than no showreel at all.

 

Unless you have lots a spare time and are interested in learning all about filming and video editing, pay for a professional. 

 

IMO you need good sound - the ambient live mix picked up by the camera is not going to cut it. The band need to look like a band and not a bunch of middle aged blokes who happen to have picked some instruments and the venue where you film should be as undistracting as possible.

 

Good luck if you decide to go for it.

This is excellent advice.

Last function-style band I was in we rented a studio and paid for a professional to film and edit it.

Paid itself back within 2 gigs.

No problems!

They’re knobs that enable you to adjust the tone and volume.

The builder originally tried Precision pickups with a jack socket. This is an upgraded version with a jazz pickup, extra large magnets and the volume and tone controls.

It’s quite an agricultural design, but it is effective. I used this as a backup in the case (if my other pickup broke). 
 

I never had a cause to use it and am moving to Evah strings which have a synthetics core, which means they won’t work with a magnetic pickup.

1 hour ago, lowdown said:

 

I've seen Chris play live a couple of times (a while back now), and apart from his ridiculous skills, he really gets into it. It tired me out just watching him. 😁

But, when he plays Arco, he can be very gentle and subtle. That's the thing with him, he's very versatile with obvious classical training.

He's a very driving player (on both upright and electric).

I'm surprised he doesn't get mentioned here on Basschat. But, if you do a search over on 'TalkBass', there are a few posts mentioning him.

 

 

I saw the Wood Brothers play a small venue in Bristol (upstairs room of a pub effectively) and it was one of the best gigs I’ve ever seen. Incredible musicianship, stagecraft and songwriting. All for £12. 
 

Absolutely 100% fantastic!

1 hour ago, tommyjamesallen said:

Christmas has come early. 

All for £28!

It’s a good book to be fair, I just need money for the microphone. 

1 hour ago, Woodinblack said:

I think I would still prefer to try talking to the video class of an art college to get something like that done, then everyone gets something out of it!

Nobody should work for free, not even students. You’re effectively telling them they’re not deserving of being paid.

I have this argument with charities all the time. If someone is using their time and skill to help you, then they should be paid.

If they sometimes choose to work for free (as I often do), that’s fine -  but it shouldn’t be an expectation.

I’ll happily sit next to you while you’re in bed and read pages to you. I have a kind, gentle and mellifluous voice.

You can use Fiverr (an online marketplace). I’ve used it for some cheap branded animations for a charity and it was fine. The prices are low, but many of the people there are fantastically well qualified. Use reviews as a guide and offer a generous tip if they do good work. You’ll likely be surprised at what you can get for your cash!

Should say that it doesn’t come with the case!

ARY, FRANCE now. Made in Carmaux. 1990s. Round pernambuco 630mm stick, nickel-mounted ebony frog, Parisian eye and triple adjuster.

Bow was professionally rehaired, cleaned and is in perfect order. It’s very light but the hair width is great. I found it very usable but ultimately not for me.

Weight: 116.1gr and 118.1gr.

Bought from Bowspeed in September. Have subsequently purchased a more suitable bow and the shop has now closed so can’t trade in.

Cost £987, looking for £500

Certification: Bought from Bowspeed. Bow still marked with their sales label.

Bought as a spare for a recent tour but I’ve now moved to using front of house and a stage monitor (no backline!).

Brand new,  ever used and a pretty fantastic bit of kit from what I can tell.

£30

This is as new and was a present. It’s a lovely reference book about the history of the double bass.

£28 delivered?

17 minutes ago, Rick's Fine '52 said:

Well, like everyone, you’re entitled to your view. 

As a bass player and collector, and artist (very poor amateur), I don’t agree with your art appraisal either, if you’re saying the value is in the concept and execution, I think those are two different things, Leo had the concept, so puts replicas in the shade, and regarding execution, do you think Jackson’s execution was any more skilled than others that have done it since and copied, like John Squire for example? I personally don’t think so. That style doesn’t need skilled execution, it’s all about the concept and interpretation. Which bringing back  to guitar terms, Leo was a trailblazer in every aspect of his craft. 

I guess when you see the scale and execution of a genuine Pollock (which are bigger than garage doors) you really can see the difference.

Jackson defined the style so by nature his execution is the best. And there is huge skill in it. Maybe give it a try. (I did as part of an art course and much of Pollocks work is much more conceptual than it appears at first glance).

Leo was a trailblazer who automated, systematised and refined his craft. He’s the Henry Ford of guitars. Beautifully crafted designs made from cheap components that are endlessly produced (and emulated).

They’re things bolted together by low paid workers. That original ones have survived unmolested is surprising and that’s why they’re collectible. 

8 minutes ago, Rick's Fine '52 said:

In theory you could say that about a £100k Broadcaster too, and I agree that John does great work, I have one of his basses. Or a £45m Pollock painting, which, as an artist I could replicate in 45 mins. I’m pretty sure players/collectors don’t care for that though. Just saying. 

They’re not comparable. A Pollock isn’t about a technique (see Ed Sheerans Pollock-esque paintings), it’s the value of the concept and the execution. 

I’m highly negative about the vintage bass market, but these all original models genuinely are rare and obviously highly valuable because of that. 
 

I don’t think it sounds any better than any other single coil P bass but that’s me. 

2 hours ago, NickD said:

Fixed that for you!

Good point. This year I’ll have done around 80 gigs and only 5 on electric bass. 

8 hours ago, Homatron said:

Thanks for the advice @JPJ & @Burns-bass. I'm certainly not offended! 

 

I don't have a tutor (not sure if there are any in Plymouth) but an experienced/trained friend of a friend has offered to give me some pointers. Looking forward to that in the next week or so.

 

I'm taking it slow and steady, referring to Discover Double Bass and other resources to keep me on track.

 

Currently loving playing over an F blues!

An experienced and trained friend sounds fully qualified to give some pointers. 

My guess is you'll tell a few people you play double bass and will be out gigging by May.

I find selling things is cathartic. There are two or three I really like but nothing (aside from people) is irreplaceable.