Burns-bass

I gave up playing for the best part of 10 years. Was the best thing I ever did. I took up loads of other hobbies and then came back to it again when I wanted to.

I guess it depends what practice is. I remember reading Rufus Reid saying if you’re not pushing yourself you’re not learning. While we’re all different I struggle to see how you can practice anything meaningfully for hours on end, as it really affects the brain. I work in a creative job and I struggle to practice more than 30-60 minutes a day. But that’s structured practice. I manage more hours of noodling, but that’s not what I’d consider real practice. Mostly I’m happy I could play pretty much anything I wanted if I could be bothered to put the effort in. But I can’t be bothered.

Yes this is it. A 5 string is about economy of effort. You can basically play 90% of songs in one position.

Personally I’ve found eBay to be the easiest place to sell but I know others have found it challenging sometimes…

I literally said this! Totally agree.

We do it all the time. The annoying thing is that the instrument gets the window seat. Boo!

Why don’t you buy a cheap P bass and take the neck off for transport?

Did my recording session and the Yamaha was fine but we needed to beef up the output a bit so we stuck some foam near the bridge. Always works!

How about we make a list so that anyone can easily access these albums? Oh, ok then. Solo Double Bass / Jazz Albums Marc Johnson – Overpass Anders Jormin – Alone Miroslav Vitous – Emergence Francois Rabbath – The Sound of a Bass) Alain Caron & Michel Donato – Basse contre basse Ray Brown – Soular Energy Eddie Gomez – Street Smart Edgar Meyer – Dreams of Flight Jorge Roeder – El Suelo Mio Classical Thomas de Hartmann – Fantaisie-concerto for Double Bass and Orchestra, Op. 65 Hans Werner Henze – Double Bass Concerto Peter Maxwell Davies – Double Bass Concerto

Like everyone here says, a week or two off is good for you.

The real aim of every session bass player is a lucrative book tour filled with anecdotes. We all know that.

I think we agree. What I don’t think the chap who posted this message needs to do is spend a load of cash on a vintage P bass if you’re starting out. The majority of work can be done with basic instruments. Of course, when you get to the studio level in most cases you’ll be told what the person wants when you get the booking.

if you’re booking a Dave Swift or a Guy Pratt or whatever, then absolutely. But that’s the 1% isn’t it? When you’re operating at that level, you’ll have your pick of instruments. Also, most high end studios will have some gear in house that’s so good it would make us all cry. Basically what I’m saying is that spending £50,000 on a load of basses won’t get you a job. Being able to play will. Through that, you can earn those basses…

I’m off to do some recording for a Blue Note jazz bass and taking my Yamaha BBN4 which cost me £40. In fact, the strings (Daddario Chromes) cost more than the bass!

That’s a great photo!

Honestly this is just a thing to try and frighten everyone. In the end, it’s for those huge traders that are wilfully evading tax. Most of us don’t need to worry. Just give you NI number and leave it at that. My tax affairs are complicated with two businesses and self employed income.

Hi Rob, I’ve come to classical bass relatively late (44) but I’ve been loving it. Personally I really enjoy the baroque stuff as it’s very logical but also undoubtedly beautiful. This may not be the vibe you’re after, but I’ve loved my ongoing journey. I have a PDF of a wonderful baroque bass book which I can share if you’d like it? They sound amazing on double bass and would be as really rewarding on your new Godin. Best

If it was the shop I’m thinking of they sent me a bass with a stuck truss rod. Fair play they refunded me straight away but then advertised the bass for sale (without mentioning the fault). Dodgy.