Burns-bass

It’s good advice, but going too fast (trying to sight read a Motown bass line, for example) before understanding the fundamentals will lead to disappointment and disillusionment. When it comes to sight reading - like anything else that’s both cerebral and physical - it’s better to build the fundamentals slowly and properly. My view, of course, but based on experience.

The advice I gave is what I used to teach my post-16 students. They all went on to read much better than I do!

There are two books I would recommend my students: Simplified Sight Reading by Josquin De Pres and Modern Reading Text bus Louis Bellson I used to use it alongside Walking Bass by Ed Friedland. (It contains loads of simple, clear and accessible sight reading examples and because it’s jazz it uses lots of chord tones as well). These will help you build a great foundation for reading. Then check out @Bilbo archive and work from there. Working with a teacher is best, but the principles are simple enough to learn. I used to do 15 minute focused practice every day. You’ll crack on really, really quickly.

The Boss WaZa can be a bit fiddly to set up. I followed a really good online tutorial that made it simple enough.

It’s a really good point. The WaZa is only the one I’ve used so encourage others to add their perspectives.

I gigged as a support act for Wilko and Norman played his Fender Jazz then (through my Hiwatt rig, which he seemed to enjoy!)

Boss WAZA air is the best solution, but it’s not cheap. There is a used set on here, I think. I found I used it a huge amount in the winter but less in the summer. So much so, that I went back to a wired setup.

I can attest to @NickA’s point. At a regular gig we do Friday I forgot my pedal board. Nothing to it but to plug straight into the amp and EQ on the fly. Only for two people who have seen us a lot come up and tell me that’s the best bass sound they’d heard from me in months. And no feedback either. Anyone want to buy an EBS pedal? (Joke)

Most touring acts, especially those playing festivals, will have people to do this stuff for them. Ticking boxes and moving gear is pretty tedious stuff. Probably a bureaucratic mess up rather than something more malicious.

To be fair, at £300 they’re probably not an expert in it. When it comes to double bass, you get what you pay for. I’ve personally poured money into a couple of DBs and it’s cash you’ll never get back. (Case in point is my beautiful Musima bass which sounds and plays wonderfully and would make the perfect starter bass but will pay me back much less than it owes me.)

True, to a point but the tweakable HPF is a godsend in some of the rooms I play in (where feedback seemingly defies logic). It’s also great for doubling gigs too, and the DI is ace. I can mark my settings on a piece of paper, slide it into the case and it’s ready for any gig. (I may be justifying my £240 spend - but I have to!)

It may not help you but it could help build a case against them. Sometimes the police will act.

Shows how engaged I am with popular culture!

Sorry to hear this. It’s a sad reminder that there are scumbags out there. If you have his address and details it’s worth sending details to the (non urgent) police email address.

I’m bemused at a lot of the stuff that’s now collectible, which is sort of the point I guess. You could get an old Gameboy at every car boot sale in the UK for about £2 in the 90s. Now they’re £50 or more. Whatever you think it is, it won’t be that. Guy on the radio reckons that limited edition trainers are a collectible of the future. Keep them in the box etc. Sounds as good as anything else.