Soliloquy

[quote name='mcnach' timestamp='1335020979' post='1624838']
but read the OP, that's not the sort of muting being discussed here
[/quote]

You need to read the full thread .

Post number 12 clearly asks about left hand muting. What kjb has done is to answer that, hence his posting number 13.

[quote name='Chris2112' timestamp='1334298321' post='1613905']
Mind you, he may have a point about these four walled bedroom commanders, but he would do well not to insult them too much as they are probably the only people buying his records, and the people who leap to defend him on the internet. These same people he mocks are sadly the ones who probably rate him the most, with their fawning idolatry ("he played at my college..."). In his rebuttal, he also states that they don't come to his shows to dance or bring girls. If you've gone to a fusion show to dance or pick up birds you've probably gone to the wrong show, especially these days when most fusion is so undanceable. He seems to want to portray himself as some sort of hip, fly jazz musician who is too cool for his fans. Quite frankly, I think he cheapens himself by insulting his fans in the way he has. So what if some music college geek wants to come and watch him play live, and doesn't want to dance? They paid the door fee, didn't they?


Ultimately, it sounds to me like a case of ego surpassing talent, something which is quite unnattractive, especially when your name is regularly dropped in a crowd of far superior bassists and musicians. That said, someone above mentioned that they weren't much of a fusion fan and yet they found that Weather Report appealed. The state of fusion has long been a point of debate, but I don't think it's especially healthy now. The current crowd could do with looking at the records of the 70's and 80's, where the bands were writing songs and making music that stayed with you rather than washing over you. As I have mentioned earlier, I think the scene of the 'bass hero' is in a pretty sad state these days too, as there is no-one really making an impact like Stuart Hamm, Victor Wooten, Mark King, Michael Manring, Jaco Pastorius etc etc have in days gone by. Janek himself makes it pretty clear that he isn't really interested in making music for musicians unless you're buying drinks and dancing at his shows!

Not to say that fusion is crap today, or that the day of the bass hero is gone. But everything could do with a lift, and we really need some great songs to be written in that genre.
[/quote]

I like some of Janek's recordings, so I guess that makes me guilty of "fawning idolatry" . I haven't heard his latest offering, but when I get chance then I will make my decision on it.

But from reading this, you seem to have the ego problem. You also seem to have a problem with people not liking what you do, and with people not agreeing with you.

I guess the problem with the internet is that it brings out the Walter Mitty aspect of peoples character.

I also think the current bass scene is very vibrant. Players like Etienne M'bappe and Linley Marthe are two exciting players.

Is the glock still for sale ? I may be interested.

Is this still available ?

This used to be mine. It was prefect when it left me and I don't doubt that it's the same now.

Loz is a great guy to deal with.

Bump.

This is a bargain price for a great little amp.

[b]Please don't make any daft offers of £200, I won't even bother to reply to your PM's[/b].

Is this still available ?

Bump.

Bump for the photos.

[quote name='chris_b' timestamp='1325778582' post='1487532']
[size=4]Our playing situations might be different but I wouldn't go for less than the TH500. As we've been saying in other threads today, the more power you have the less work your amp has to do.[/size]
[/quote]

I think you have to ignore what the manufacturers say, and use your ears to guide you as to whether something is 'loud enough' for a given situation.
The EBS Reidmar is a perfect example. The Reidmar is plenty loud enough for a gig where PA support isn't needed, bigger gigs where it isn't then you'd be using a full PA.

Have a look here

[url="http://www.talkbass.com/forum/f15/aguilar-tone-hammer-350-a-837192/index3.html"]http://www.talkbass....192/index3.html[/url]

The guy from Aguilar says that the power module used in the 350 is the same as the one in the GK MB500.

That's rated by the manufacturer as having an output of 500 watts. I think maybe Aguilar are just doing an EBS and being honest with their statements.

Anyone tried this yet ?

In good condition, one very minor cosmetic dent to the one corner but 100% working, and sounds great.

For sale for £295 posted, or trade towards an Aguilar Tonehammer 500.

I want some stainless steel strings for my new Jazz bass. I need them to have a taper wound B string though.

Anyone have any recommendations ?

I spent a day 'studying' with him a couple of years ago. He was totally mind blowing to watch. He played a lot and talked and demonstrated his various techniques, and showed how he uses his various bits of gear.

Hi depth of musicality is totally unnerving, to me anyway. How someone can come up with what he does his just amazing.

On any bass a fretted note will sound different to an open note, fretted A at the 5th fret on the E string for example. He uses this in his compositions, hence his detuning.

He is also one of the most honest, friendliest and down to earth people that I have ever met.

At the end of the day he performed a piece that involved him playing three basses at the same time. This wasn't just a party trick, it was a genuine performance of a piece of music he'd written for three basses.

Oooh I'd love one of these .

Both pairs are still available at the moment.

Bump.

I got another 1x12 today. What a sound !!!!!!!!!!!!!!!!!

I had a new pair of really nice headphones for Christmas, and I just bought a new pair of in ears for my Ipod. So I have the following for sale.

A pair of hardly used [u][b]Sony MDR-V6[/b][/u] monitor headphones. These are used in most recording studios around the world. They are very accurate sounding, and very comfortable to wear. They also have a very long, and strong curly cable. These are basically 'as new' and come complete with the original packaging - [u][b]£50 including postage.[/b][/u]

[b][u]Sennheiser PX200-II[/u]. [/b]These are just a couple of weeks old, and have been used just a couple of times for a maximum of about 3 hours. I bought them just before buying my new in ears for my Ipod - [u][b]£40 including postage[/b].[/u]

Bump.

Who would say this is rubbish ?

I think they're fantastic basses.

[quote name='lowdown' timestamp='1328712210' post='1531507']
If you are used to playing venues & pubs to few or no people, Jazz will be right up your Strasse.


Unless i have been unlucky.


Garry
[/quote]

It must be just you .

I played a jazz club in Bilston a few weeks ago on a Sunday lunch time and the place was packed. I've played at markets and other pubs outside in the freezing cold and always get a good crowd. I think jazz music is quite an enduring musical genre, and people who like it will come to watch it.

I've tried them and quite liked them. I thought they were way overpriced for what they are. I didn't think they were particularly 'uncoloured' either, they had a very distinct sound.

I'm puzzled as to why you'd want a cab that hid what you were playing.

The most expensive bass I've ever seen was the Dingwall at Bass direct. That was a tad under £8.000.00. It wasn't even new either. You could buy a couple of Fodera basses for that. I'd say that Fodera basses were probably more time consuming to make too.

http://www.bassdirect.co.uk/bass_guitar_specialists/Prima_A_Walnut.html

Orchestral bassists pay upwards of £20,000.00 for their instruments. How come no one says anything about the cost of professional double basses ?

Why would you not use an open string ?

Puzzling. On a four string how do you fret a low E ?

When reading and playing and shifting positions it makes so much sense to hit an open note while moving your fretting hand.