risingson

[quote name='Chris2112' post='1314019' date='Jul 23 2011, 06:00 PM']Sure, they make a fine jazz bass, but you're [i]always[/i] paying for the name. Which is madness, considering the competition is making better jazz basses cheaper.[/quote] For once I actually agree Chris. Or at least partially. I've not come across anything that was 'better' built than a Sadowsky Metro that was cheaper, nor much worse, but you are definitely paying for the Sadowsky name. As long as you're happy to walk out with a bass you're happy with though, (here comes the age old argument) who really cares what you spend your money on.

Really impressive playing. He still doesn't sound like a bass player that demands my attention but there's no denying that the guy is a major talent. It was serious fret w***ing though!

I use my thumb a lot now to palm mute, on ballads though I tend to move up closer to the neck and play with fingers.

[quote name='BigRedX' post='1312350' date='Jul 22 2011, 08:52 AM']But surely the mark of a good luthier is that they will gently steer their customers away from their more ridiculous faux-pas and end up with an instrument that works on every level (playability, tone and aesthetics) for both the customer and the luthier. Warwick's current philosophy on custom models seems to be following that of the small-time luthier who proudly proclaims that they will build you anything you want, and like them the end result may be a fine example of woodworking skills, but taste and ergonomics rarely enter into it. Besides nowadays there are so many manufacturers and luthiers making such a wide variety of bass guitars that the need to have someone like Warwick cobble you together in instrument that they have no real feel for has become unnecessary.[/quote] Warwick customers probably don't share your views though, after all if you buy a Warwick, it's because you like the aesthetics, tone, playability etc. The people that don't won't buy one! The bass in the OP is not my thing whatsoever, in fact most Warwicks nowadays aren't my thing. But it is interesting, and it will get people talking about the brand. Mad instrument, sure, but we're a forum full of people who (for better or for worse) are talking about their products because of this instrument.

[quote name='Kevin Glasgow' post='1312478' date='Jul 22 2011, 10:46 AM']Hi Risingson, I'm glad you enjoyed the video! Yeah, I have listened to Debussy and Ravel but I’ve only really checked out their famous works (Clair de Lune La fille aux cheveux de lin, Daphnis et Chloe, Bolero, La valse, etc), which I love, but I keep meaning to check those guys out in more depth. Recently I’ve been listening to loads Olivier Messiaen's music. He’s an incredible composer, who I believe was heavily influenced by the music of Debussy.[/quote] Debussy is one of my favourites and the video was really reminiscent of some of his piano works, but on a bass! Never thought I'd see anything like it. Very musical playing and I'll certainly keep an eye out for future videos from you.

[quote name='kevin_lindsay' post='1312289' date='Jul 22 2011, 05:45 AM']Glad you had a good time at The Gallery mate. The bloke who assisted you - if he had a shaved head, that would have been John Chapman, great guy (he's actually just completed a new custom built guitar for my brother). If he had shoulder length hair, that will have been Martin, the owner. Great guy and a great friend of mine for many, many years[/quote] I saw them both but the guy that served me was John, incredibly helpful. [quote]How was the randy j head mate?[/quote] Really nice actually, it packed a punch and sounded brilliant. I liked the simplicity of it all as well, you only had to touch a few bits and then you could leave it completely alone. Obviously I couldn't ramp it up too much inside the shop but it was very good.

There are plenty of good after market preamps available. The J-Retro is very popular but there is also Audere, Nordstrand etc. to look at.

Just got back from playing one of their MV5's in the London Bass Gallery and it was one of the best sounding basses I've ever heard. Having said this I've found one or two to be not so much to my liking... but the Sadowsky today has made me think long and hard about what my next bass is likely going to be. The Sandberg California's are great basses. Really great in fact, and I'd definitely have one (and did indeed almost have an endorsement deal with them), but I don't think they compare very well with the Sadowskys... somehow the Sadowsky feels like the more expensive instrument in your hands. Just my opinion after today anyway. Neither bass delivers a vintage Fender sound to my ears unless you run them in passive mode. I've now played quite a few of each and I'd just recommend trying both of them out before making any prejudgements on either brand.

I've never thought the DRs were worth the extra cash, although I used to use them often. They always get championed as the best strings money can get but I think they have their downfalls actually. Add to that the bad CS and I'd just swap brands! I use D'Addarios and am happy enough although I've recently come to love Elixirs so I might make the swap soon.

[quote name='Kevin Glasgow' post='1309408' date='Jul 19 2011, 05:31 PM']Hi Folks, Here's a solo vid I recorded a while ago:- [/quote] You listen to much Debussy or Ravel Kevin? I only ask because that wholetone work and dynamic play in that video had really strong overtones of both composers. Really very enjoyable to watch and as far as I'm aware, very unique as well.

[quote name='BigRedX' post='1311919' date='Jul 21 2011, 07:17 PM']It makes me wonder if the latest lot of Warwick "endorsees" have had a competition between themselves to see who can persuade Warwick to make the most ridiculous instrument. So far it's a toss-up between this and the Adam Clayton monstrosity.[/quote] At least they're doing it though. It's the one thing that keeps me at least the tiny bit interested in Warwick; the fact that they pretty much will do whatever you want to your bass, providing you've got a lot of money. It's becoming a bit rare to see as people gravitate towards more traditional bass guitars. Warwick like the Lamborghini of the bass world, in fact quite literally now that Lambo are putting Audi engines in their cars.

Long story short, I was helping my girlfriend move out of her flat in Bethnal Green and in exchange for this she let me go to the Gallery for a bit. I don't often get down to London being based up north, but to me a trip to London isn't really complete until I've got to the Gallery. The service was great as well, I don't know the guy's name in there (it wasn't Alex this time) but he couldn't have been nicer about letting me try out some stuff. I actually went in to try the Nordstand VJ4 they have on their website ( [url="http://www.thebassgallery.com/product_details.cfm?ID=1587&type=Bass%20Guitar"]http://www.thebassgallery.com/product_deta...e=Bass%20Guitar[/url] ) but alas it was nowhere to be seen so in my quest to try out a few good 5 strings, I ended up playing a Sadowsky MV5PJ, a Dingwall Combustion 5 and finally a Sadowsky MV5, all through the Randy Jackson Markbass head + one of their 10" cabs. The first two were nice... they didn't blow me away though and I was a little disappointed to find out that the Sadowsky MV5PJ wasn't what I expected it to be, the low B wasn't as tight or focused sounding as I expected which was a shame. The Dingwall was cool and had a good low B but I was again a bit disappointed and quickly discovered that whilst the fanned fret thing was fairly easy to get on with, it definitely was not for me. The Sadowsky MV5 though, what can I say... it was brilliant. I've always found Sadowskys to be the basses I wanted to love but just couldn't for some reason or another. This particular MV5 was just excellent. The best low B out of all three of the basses I tried, focused, and such a massive tone as well. I was doing everything to justify the purchase of it but I think I'll have to get one now, it was just too great. The only thing stopping me walking out the door with it was the hefty pricetag of a little over £2000, but actually I think it was worth every penny. One of the best basses I've played. So all in all, a good day and if it hasn't been said enough on this site already, get down to the Bass Gallery Camden if you're in London as the service is always good, and the moment you walk in the door you'll feel like you've died and gone to heaven!

It's not too tough to get a sound out of any instrument and I should imagine as a stringed instrument getting a tune out of it would be fairly straight forward... I should imagine the difficulty would come with playing it properly/traditionally and being outside the comfort zone that western music offers. I'd really love to learn the Sitar actually! If you get unstuck, just buy one of the old Danelectro sitars. It's what can be heard at the start of 'Signed, Sealed, Delivered' by Stevie and the solo of 'Do It Again' by Steely Dan. [url="http://www.youtube.com/watch?v=3dZj7greeiE"]http://www.youtube.com/watch?v=3dZj7greeiE[/url]

Funny you posted this Gust0o as I was only thinking about this today. I play guitar as well, in fact I took it up before I started to play bass but as time went on I became more interested in the latter. Now I've reached a stage where I'm writing more and more and yes, being able to play guitar is indispensable as a writer as it's easy to evolve melodies over chord progressions and you can write for an entire band on it. Chords mean everything when writing, and whilst I love the bass guitar, the way I see it is as an instrument meant to be used monophonically to bed a track and support every other instrument that surrounds it. With a few exceptions, it's rare to hear a bass hook that constitutes a good pop song (not unheard of! Billie Jean of course). Having said that, many of the world's greatest producers and MDs are bass players, and I think the reason why has everything to do with the birds-eye view of everything else that is going on in the band. Being the person that helps pull everyone together is just as important as anything else. But being able to play guitar and keys offers the best means of translating ideas IMO.

[quote name='chris_b' post='1307598' date='Jul 18 2011, 11:09 AM']Successful players successfully network to get a gig, but do you really think the likes of Herbie Hancock, Chic Corea and Jeff beck are going to choose their musicians based on their living arrangements? Get real!![/quote] My thoughts exactly, all this crap flying around about how she could never possibly get a gig without Vinnie is total rubbish.

[quote name='Pete Academy' post='1307152' date='Jul 17 2011, 10:11 PM']Why the negative comments? She's obviously a great player. [/quote] Because she's a woman. Not aimed at anyone in particular who's so far commented as we all like different players but every time her name gets mentioned all I get reminded of is how embarrassingly chauvinistic and jealous some men can get.

Wow, actually more people than I would have thought on here! The drumming thing I struggle with, whenever I go to play our drummer's kit (a righty) I always feel like I'd want to reset his drums up for a left hand player... but he always insists if I learn then I should play open handed (like John Blackwell... incredible player [url="http://www.youtube.com/watch?v=NcjbP_lUwdU)"]http://www.youtube.com/watch?v=NcjbP_lUwdU)[/url]. The Jimmy Haslip way confuses the hell out of me. One of the most competent bass players in the world right now though.

Just purely out of interest really. When I started playing bass my Dad asked the left handed guitar player in his band what bass he should buy me. He was advised to go with the right handed option, and I couldn't be more grateful in hindsight. Do any left paws mind having to play a left handed bass/or vice versa?

[quote name='silddx' post='1304169' date='Jul 14 2011, 11:18 PM']Know any decent oud players from huddersfield?[/quote] One, but he's all booked up till 2014. Quite the niche market he's tapped into

So many times have I heard bands try to play funk numbers for example and for it to feel totally contrived, almost like they are hoping for it to be some kind of formula that they can just plug into and play... but of course there's more to it than that. It has to be something that is natural to you, either because you have been raised in an environment where certain kinds of music are commonplace, or because you've been listening to the music all of your life. I don't think it has a lot to do with your genetic makeup so much, although I have seen people try to prove this to be true.

[quote name='ToneDeluxe' post='1301814' date='Jul 13 2011, 02:04 AM']you thought i was going to say what is best?... my curious Q is, have you ever switched styles for genres... i could, or some may say, that pick is for rock type stuff, and fingerstyle is for funky style bass playing.. obviously this is nonsence.. you could say that a pick cuts through way better for Rock,... i have never seen a funk player play with a pick, but ive seen loads of rock players play with there fingers... go figure..[/quote] I use both, for many different reasons. I had a guy come up to me the other night to compliment me after a gig but he mentioned he preferred my sound when I played with fingers as opposed to a pick. I think his point was less to do with the fact that he preferred my finger style playing and more to do with the fact that he didn't see the point in why I was swapping back and forth from pick to fingers. Both offer different things, and I find that for certain rockier tunes and maybe a sound more geared towards MacCartney/Carol Kaye sound can only be properly achieved with a pick.

[quote name='Dandelion' post='1301458' date='Jul 12 2011, 07:20 PM']Can extensive practice ever make up for lack of talent?[/quote] The situation is a bit of a paradox I think because as you practice, any raw and basic talent you might have as a natural musician becomes refined and focused. People are put together differently and some people I'm sure are more musical than others but assuming you have as much drive as Jaco Pastorius did when he practiced then who can say what kind of dizzying heights you can achieve as a musician!

More proof that you can understand as much theory as you want but never be able to see the broader musical picture.

Guy Berryman's red P-Bass, easily!