Spoombung

[quote name='silddx' timestamp='1322754670' post='1455470'] I like Robert Fripp's thoughts [b] The Road To Graceland by Robert Fripp[/b] [b] I[/b] Music is a process of uniting the world of qualities and the world of existences, of blending the world of silence and the world of sound. In this sense, music is a way of transformation. What we do is inseparable from how and why we do what we do. So, the transformation of sound is inseparable from a transformation of self. For example, we attract silence by being silent. In our culture, this generally requires practice. Practice is a way of transforming the quality of our functioning, that is, a transformation of what we do. We move from making unnecessary efforts, the exertions of force, to making necessary efforts: the direction of effortlessness. In this the prime maxim is: honor necessity, honor sufficiency. [b] II[/b] When we consider our functioning as a musician, that is, what we do in order to be a musician, we find we are considering more than just the operation of our hands. The musician has three instruments: the hands, the head and the heart, and each has its own discipline. So, the musician has three disciplines: the disciplines of the hands, the head and the heart. Ultimately, these are one discipline: discipline. Discipline is the capacity to make a commitment in time. If the musician is able to make a commitment in time, to guarantee that they will honor this commitment regardless of convenience, comfort, situation and inclination of the moment, they are on the way to becoming effectual. An effectual musician is a trained, responsive and reliable instrument at the service of music. [b] III[/b] So, practice addresses: 1. The nature of our functioning; that is, of our hands, head and heart. 2. The co-ordination of our functioning; that is our hands with head, our hands with heart, our heart with head, and in a perfect world, all three together in a rare, unlikely, but possible harmony. 3. The quality of our functioning. [b] IV[/b] It is absurd to believe that practising our instrument is separate from the rest of our life. If we change our practice, we change our lives. Practice is not just what we do with our hands, nor just how we do what we do, nor why we do what we do. Practice is how we are. [b] V[/b] A practice of any value will be three things: 1. A way of developing a relationship with the instrument; 2. A way of developing a relationship with music; 3. A way of developing a relationship with ourselves. So, the techniques of our musical craft are in three fields: of playing the instrument, of music and of being a person. I cannot play guitar without having a relationship with myself, or with music. I cannot, as a guitarist, play music without having a relationship with myself and my guitar. And, by applying myself to the guitar and to music, I discover myself within the application. [b] VI[/b] A technique simulates what it represents, and prepares a space for the technique to become what it represents. For example, the manner in which I live my life is my way of practising to be alive. There is no distance between how I live my life and how I practice being alive. [b] VII[/b] Once a quality is within our experience, we recognise its return and may allow its action to take place upon us. But how and why it is present, or comes to visit, is rather harder to describe. If this quality is present with us, description becomes easier: we describe the world in which we live. If we live in the way of craft, the craft lives in us; as we describe this way, the craft reveals itself through us. Any true way will be able to describe itself through its craftspeople. [b] VIII[/b] The quality we bring to one small part of our life is the quality we bring to all the small parts of our life. All the small parts of our life is our life. If we are able to make one small act of quality, it wiil spread throughout the larger act of living. This is in the nature of a quality - a quality is ungovernable by size and by the rules of quantity: a quality is ungovernable my number. So, one small act of quality is as big as one big act of quality. An act of quality carries intention, commitment and presence, and is never accidental. [b] IX[/b] Once we have an experience of making an effort of this kind, we may apply this quality of effort in the other areas of our life. The rule is: better to be present with a bad note than absent from a good note. When our note is true, we are surprised to find that it sounds very much like silence, only a little louder. [b] X[/b] If music is quality organised in sound, the musician has three approaches towards it: through sound, through organisation, or through quality. The apprentice will approach the sound, the craftsperson will approach the organisation of sound, and the master musician approaches music through its quality. That is, the master musician works from silence, organises the silence, and places sound between the silence. [b] XI[/b] Where we are going is how we get there. If where we are going is how we get there, we are where we are going. If we are where we are going, we have nowhere to go. If we have nowhere to go, may we be where we are. [b] XII[/b] Music is a benevolent presence constantly and readily available to all. May we trust the inexpressible benevolence of the creative impulse. [/quote] I sense Toyah's influence.

[quote name='TheGreek' timestamp='1322764520' post='1455648'] Is anybody going to post photos then??? There's nothing worse than a tease.. [/quote]

[quote name='GMR' timestamp='1322754664' post='1455469'] Hi chaps, glad you like our basses. We have indeed moved the whole company to the UK. We thought, we'll try to go against the flow, and rather then try to find some way's of making bigger profit producing them using cheaper labor or materials for example , we'll forever try to improve our 'babies'. Quality of finish, materials and components used are very important to us, thus the move. Also having the showroom or 'the HQ' as we call it, on Denmark Street, means easy access to our basses for people interested. Specially voiced John East preamps are being fitted as a standard feature now. Also there's a wide range of different pick up options available, although I do swear by Bassculture Pickups. They hand made , by Christoff in Germany, near Dusseldorf. Lovely guy as well. P-up maniac :-). Daniel [/quote] I'm definitely going to have a proper look as I've had my eye on one of these basses for a long while. Nice to know they're in the UK now.

Yeah - that was my impression too; great construction and design but very sterile sounding pickups. Maybe they've changed that now?

Love your basses - great balance and shape - and look forward to checking them out properly...

I see they have now moved to the UK. Surprising....

I still enjoy it here but I spend more time on the [b]Basenotes[/b] forum - no, not another forum about basses, but a forum about [i]fragrance[/i] (another passion of mine). As for basschat, I was a bit alarmed to see a 'reputation' thing appear on my profile. I have no idea what that is about. Nor do I care.

You can see the state of my Wal fingerboard here. Last time I had the neck re-sanded was back in '94 when Pete was there. Whenever I took it back for a service the first thing he would do was take off the strings and set about it with a sanding pad in front of me while I drank tea in the workshop. It's had 17 years of pounding with roundwound strings since (I'm still using the very same 17-year old strings and haven't got around to changing them). The ebony on this bass strikes me as quite a soft soft bit of wood. I have other basses with ebony fingerboards and they're much harder examples than the Wal and don't scratch up as much.

They sounded the same! I was starting to nod off after 20 minutes, though.

[quote name='derrenleepoole' timestamp='1321533860' post='1440229'] The second set done in complete darkness interestingly has been well received by critics and fans alike, but I guess not everyone like's such things. Playing in the dark would be a challenge on most instruments, but must be terrifying and incredibly challenging on an upright bass! Maybe that's the point though. The challenge of doing things we take for granted with our sight, reduced to pure listening? [/quote] Well I thought they might as well have put one of their CD's on and played it over the PA really. I'm sure it wasn't intended to show off how good they are as musicians (playing in the darkness doesn't impress me even if it is clever). No, I thought they were trying their hand at a 'concept' (musicians are well known for this and [i]young[/i] musicians are particularly well known for their [i]naivete[/i] when it comes to concepts) I'm surprised the critics liked it as it was a truly terrible idea. Maybe the family connection - the tribute impressed them? Maybe the critics are getting younger? The whole point of going to a gig for me is [i]seeing[/i] the interaction between the band - the glances and signals that you don't get from the CD. Instead the effect was claustrophobic, soporific and dull.

Saw double-bassist Jasper Høiby's much-talked about [b]Phronesis[/b] last night at the Purcell room. Interesting to examine the bass style in detail: almost perfect intonation (practically unheard of for stand-up bass) lots of octaves in the riffing (which strikes me as unusual for a jazz bassist) and an almost total absence of walking bass (very refreshing in this genre). There were lots of unison bass with the pianist. As a band I liked the rhythm section a lot (the drummer was incredible) but was more critical of the pianist's mushy, slightly classical arpeggio style and he had trouble leaving space in the music. The second set was played in darkness as some sort of tribute to Høiby's sister who had recently lost her sight. It was an unmitigated, naive, conceptual disaster and totally pointless. Overall, it was okay but I doubt whether I'll want to see them again. PS. I just [i]love[/i] the way the shutters come down at the bar just as the audience stream out the hall looking for a last drink... http://www.youtube.com/watch?v=KbnnWIntf3g&feature=related

I've often wondered about this and I'm also curious. My fretless fingerboard is a bit chewed up, to be honest.

I would also take it to the Bass Gallery as suggested above. Wal are too busy/expensive.

Here's my friend, Oren Marshall, playing tuba in his band. You need a lot of poof and pant to play brass in a bass-playing role. It makes me feel exhausted just watching him. http://www.youtube.com/watch?v=suzDFr0zNHw

The PJ set seems quite lively here: http://www.youtube.com/watch?v=WOuV7-lV2XE

[quote name='bassmerchant' timestamp='1320661319' post='1429429'] Hi Guys Thank you for all the comments and commiserations, it is much appreciated !!!! I am just finalising the stock list now and will mail it to all those who have expressed an interest today Once again , many thanks Darren The Bass Merchant [/quote] It might be easier to post the stocklist on this thread.

[quote name='steve' timestamp='1320927100' post='1433213'] Really like the sound of that Kev [/quote] Thanks, Steve.

Hi Folks I have a new album out soon which might be of interest to bass players. I made a little 'trailer' video for it here: [media]http://www.youtube.com/watch?v=mrFKu3pMM0w&feature=feedu[/media] I mostly used this tatty old thing on the tracks: But also used this: This: And this: Kev

Interesting and useful information. I haven't tried this method but will in the future. Thanks!

[quote name='chris_b' timestamp='1320669060' post='1429609'] Try Chandlers, Charlie Chandler, Bass Gallery, Bass Direct or order them direct from Bartolini in the US. [/quote] No sign of them in the sources you mention. I'm trying to avoid ordering from the states...

I'm sure there was a guy importing them on Basschat few months ago...?

[quote name='crez5150' timestamp='1320667992' post='1429579'] Speak to Mike at Iceni.... got My last lot from him... good price too [/quote] I'd rather know where he gets his...