risingson

He's a really great bass player and a very nice guy to boot. One of my old lecturers introduced us a few years back and he was really open to some of my most likely silly questions about music and gear and stuff.

[quote name='NancyJohnson' timestamp='1324503613' post='1475114'] Now moving swiftly along, anyone else find they're tiring somewhat of Lakland products? I mean by this that while yes, there's a vast choice of finish/electronics combinations, it's worth pointing out that more than half their models remain firm-rooted in suped-up Precision/Jazz basses clones and the spec on the 44-94/55-94 models has barely changed in five plus years. The two other models (Decade and Hollowbody) are just plain bland; I played both in the US last year and they really weren't so great. [/quote] Yes. I really love Lakland, but their stuff can be pretty uninspiring and the 55-94 shape has now most certainly aged. Their website isn't particularly awe-inspiring either, dare I say it might be worth looking at Sadowsky's website which I happen to think is very good indeed. They sound brilliant, but they need something a bit daring to bring them back up to speed.

[quote name='silddx' timestamp='1324500454' post='1475073'] I'm afraid they are to me. Two chords in odd metre, a run, horn solo, busy up the drums, bass solo, a tricky break into another two chords, a run, keys solo, get louder, drum fills, take down the dynamics of the two chords - make it quieter, let the drums imply a different beat and go a bit mad, get louder, make the two chords fierce, everyone join in and hip hop it a bit, big finale, loud high horn melody. Congratulations. They are talented, brilliant, awesome, but it just doesn't speak to me. It sounds like variations on two chords with tricky bits and chops opportunities. And they look a bit smug but not in a fun way. Sorry. I really can't dig it. It doesn't make my life better. [/quote] That's fair enough. If I'm totally honest neither band have changed my life, just that I prefer Snarky Puppy, their sound sits better with the kind of music I enjoy.

[quote name='BB3000S' timestamp='1324420469' post='1474154'] How on earth is it possible to do those lightning quick runs? I'm utterly amazed. They clearly are awesome musicians, but [b]I'm either getting to old or have overdosed through the years (or both) for this - sadly I have to say it does not move me or touch me at all.[/b] Have nothing but the utmost respect for their skill and dedication though, hats off! [/quote] I'm 22 and it bores the hell out of me. It's obvious they're having a lot of fun doing what they do and I respect the fact they're bringing Jazz to a wider audience by mixing it with the plastic pop sounds, but it's not for me. A lot of respect for them though as they're very talented guys. But give me this lot anyday:[url="http://www.youtube.com/watch?v=d-IlUFgEVW4"] http://www.youtube.com/watch?v=d-IlUFgEVW4[/url]

I love my DJ4 and would happily have a 5'er. I do wish Lakland would be a bit more imaginative though and offer more in the way of colour and preamp options with the Skylines. But these really are wonderful instruments, and I'm glad to see them back in the Lakland roster.

I noticed there was a Status Groove 5 up for sale, looks pretty used but I thought I may as well chuck in a bid for £1! Has anyone had dealings with auctions etc. with these guys? I always sidestep them, pawn shops always strike me as dodgy as hell.

I've always lent slightly more towards Jazz style basses as they offer me a bit more of a 'forward' sound in a band and mix situation, but I love P basses. To me they offer a fundamental low end unmatched by almost any other style of bass I've played. Chunky and big if strung with flats, and a piano-like clarity if you string them with rounds. They've featured on many of the best records of all time and are played by many of my favourite bass players of all time, notably James Jamerson, Pino Palladino, Carol Kaye and Chuck Rainey, as well as countless others.

Nice one Dood, looking at the TH750 myself right now so I'll have to check this out.

[quote name='Hobbayne' timestamp='1323968324' post='1469376'] Wasnt Bootsy Collins James Brown's bassist?. On such great songs like "I Feel Good" and "Sex Machine"? [/quote] He was definitely on 'Sex Machine' but 'I Feel Good' was Bernard Odum. James Brown had a lot of bass players! Bootsy, Bernard Odum, Fred Thomas, Sweets Sherrell, Ray Brundidge, one or two more as well.

That's ridiculous playing! Amazing stuff.

It's a bit of a vicious circle. If he wants people to be engaging with his music then he needs to have it splurged across multiple platforms of availability, including Spotify. And because his music is so very niche and appeals to a very exclusive audience, he needs all the help he can get. I understand his frustrations concerning minimum payments though, it's just that sometimes it's better not to bite the hand that feeds you.

It's just the gigs for me, it's how I make a living. My days are made up of recording our new album currently, with the band that I play with, so I'm very fortunate.

I'm delighted you've been able to save your business, especially as you're offering a service so very close to my heart I'll endeavour to visit as soon as I'm in the area.

[quote name='JakeBrownBass' timestamp='1323981005' post='1469562'] This thread has got ridiculous. There is ways to make a living from music & if the OP wants to try to do that, surely we should be giving advice in how to do that, not criticising it and telling him he's living in a dream. Jake [/quote] I totally agree. This thread has mostly been a bit of a barrage of half-truths and misunderstanding, mostly from people who have no experience of of reading Music as a subject at Uni level. You do not go to study music to come out the other side with a degree, the qualification has nothing to do with earning your place in such a competitive industry. What you get if you course is any good is experience, understanding, and most importantly, contacts and networks. Probably the best advice being offered is to ignore pretty much everyone who's posted and to find out for yourself. Bottom line is that there is money to be made from being a professional musician, providing you have the necessary skills. I know people who own houses based on nothing more than playing bars and clubs week in week out. You might want to aim a little higher perhaps, and then I know people playing with Sting, Kid Creole, Tinchy Stryder, Olly Murs, Hurts, Alexandra Burke, Craig David, Barclay James Harvest, but to name a few, all of whom have honed their craft and networked through being Music students.

[quote name='Chris2112' timestamp='1323889699' post='1468414'] What they're designed for? Making money, as Mr Thunes so rightly pointed out? Universities are obliged to award you a degree that is actually going to get you anywhere in life, they're just there to make money. Using your loaf is what will get you something out of university, and that means picking a degree that could get you somewhere. Fancy that you finish university, and lo, you did not turn out to be Anthony Jackson in disguise and your phone is not ringing with offers of gigs and work. You put yourself out there looking for a job. Sadly, the pro players got there first and so did the other thousands of people who graduated with a music degree this year. You now have to look into the real world and get a CV out there. It says 'BA Hons Music' at the top, a nice succinct summary that lets an employer throw it straight into the bin without having to worry they're overlooking someone of value. You, on the other hand, are left trying to work out how you're going to see off over £10,000 worth a debt. It's harsh, but it's true. I was lucky to be bailed out of university with a 35 year contract for work after my first year, so I never accumulated too much debt. If I were faced with the same decision again, I'd probably not go to uni this time around. I certainly wouldn't go to study something as frivolous as music. [/quote] I suspect your qualm in all of this is your opposition to Universities in general as opposed to having any subjective view on what these institutes can offer you, thus I would argue that you are ill-placed to comment on what can be offered to fledgling musicians who choose Music as a degree. Needless to say, I have many, many friends who are working for the latest musical acts down in London and are keeping extraordinarily busy, largely because of the contacts that they made during their time studying. Furthermore, you seemed to ignore my point about the degree actually meaning very little at the end of your course.

[quote name='Chris2112' timestamp='1323887951' post='1468341'] I say this all the time, but studying music at University has to be one of the silliest ideas going these days. It's a lovely thing to do if you have no aspirations to own a house or get a job, but in the real world, a music degree is as much use to an employer as as a wad of used toilet paper. You might enjoy indulging your hobby for a couple of years but beyond university and the meagre pickings of the music world you'll not have much to show for the colossal debt you've accrued. [/quote] This isn't true, and with the greatest of respect, spoken like someone who obviously has no understanding of what a lot of the good musical institutes are designed for. That goes for all the people harping on about how the degree at the end of it means squat. One massive piece of advice I'll offer anyone planning on going to study music with a view to becoming a working musician: make sure you're going to University for the right reasons. Go to improve your craft, make contacts for future life and enjoy learning and being creative in an environment that will generally breed a high class of musician, depending on the institute you're at. You do not go to these places for the degree, in fact the degree should be an afterthought, albeit an afterthought that no one can take away from you for the rest of your life. As far as the death of the 21st century musician, well that's an entirely unpredictable thing and whoever claims that we're all on the path to being replaced by machines is scare mongering. True, much of the session work has died in many areas, but not all of the work has suddenly dried up, why would it? There will always be practical applications for the most talented musicians who want to work, and if you're a good musician then there should never be any reason for you to be out of pocket. You need to be outgoing, organised, willing to travel and open to new ideas, talent is just the half of it. You need to be ready for most eventualities, and you'll need to be able to read and understand music. With these skills under your belt, you'll hopefully have a long and prosperous career as a musician.

[quote name='silddx' timestamp='1323873126' post='1468075'] I actually really wanted to like this album. You should read the interview with him in BP. You'd think he was the second bloody coming from the piece. Then I heard it and wondered if it was the same thing they were talking about. [/quote] Was he bigging himself up or was it the magazine being sycophantic?

I like Flying Lotus a lot, but I can't say I've come across this guy until now. He's not the future of bass playing, I think people get a little ahead of themselves when they come out with stuff like that. I'm not going to rip into him though because he's doing what he wants to do and I don't see a problem with it. He's not the one to have said that he's the future of bass, he's just a musician making music that isn't to everyone's taste, so fair enough to him I suppose, even if I do find his music pretty uninteresting.

They are tight, and they make a great sound as well. Their bass player and MD Michael League is a bit of a monster player. All the band are based in Brooklyn NY now, living the dream.

In what manner did the amp die? Did it cut out completely, or is it an intermittent fault? Did all the LEDs go out or did they stay on and just no sound? More info will help indicate the fault to the more experienced tech-savvy posters.

Good on him I suppose, and yes I think he has turned a lot of people onto bass playing. Also shows how much times have changed. This is a guy with no affiliation to any well known band, just a Youtube sensation.

[quote name='MythSte' timestamp='1323548712' post='1464547'] I finish my exams next week man so shoot me a text and I'll come down with you? [/quote] Aye, I should be available!

I'll get over one Monday when I can, it's been a while since I last played at Hannah's. Used to play on a Thursday sometimes with a soul/blues/funk band.

[quote name='silddx' timestamp='1323441294' post='1463457'] Had a similar experience mate, I have changed since then, but so has he, and it's easier now, but still a source of worry and anxiety for me, and fear of feeling like I did back then, and knowing I can react to things in the way I did, I NEVER want to feel that way again. However, my musical life took off as a result of me needing the comfort of music. Also, one of my very closest friends suddenly dying in April changed me a bit. I recorded most of the bass on his album (which he'd almost finished and which we are releasing pothumously), I was basically embellishing his ideas and replacing his synth bass parts. I remember sending him the bass track for a song he wrote about his girlfriend who had donated a kidney to him a few years earlier, it was a really important song for him. I had reharmonised the second half of a part with a sax solo on it. He phoned me later on and told me the bass on that part gave him the shivers, he loved it! That made me realise I should trust my judgement and take more risks. That was also compounded by the wonderful comments I got on here about Kit's EP. I'm starting to feel like I have an identity in the way I write bass parts, and although I'm severely lacking in many areas, I am starting to believe in myself. [/quote] That's a great thing to take away from such a sad event, absolutely brilliant. It sounds terribly corny, but I do believe that listening and creating music is a great way of assimilating strong feelings that would otherwise have the ability to overwhelm and consume us. Music is never depressing to me. I hear a sad song that reminds me of a tough time and I feel strangely liberated by it. Equally I hear songs that remind me of the best of times of my life and it makes me feel great, I'm uplifted by it! Creating music is a whole different ball game all together, hearing a song you've created or helped create come together is just an unmatched feeling. Better than any therapy or drug I can think of. You should be proud of yourself that you've helped your friend to realise his music posthumously, what a great thing to have done. I must admit I've not yet had the chance to listen but as soon as I've posted this message I'll be sure to check it out.

This has been a really good thread to read. I've had some terrible family problems over the years, especially between myself and my older sister. There were times where being in the house when she was there could get unbearable and I'm certain that during that time of my life, I became a much more driven person creatively and became really committed to music.