Hector

[quote name='henrywillard' timestamp='1474502118' post='3138500'] Along with the necessities of three XLR cables and three jack-jack's of different lengths, my Radial Tonebone PZ-Pre pre-amp w/ plug, Boss TU-3 tuner w/ plug, and kettle lead for my Acoustic Image amp, I always carry two SM57's and an SM58 in my gear bag, black gaffa tape, a black surge-protected 10m 4-way extension, a can of deodorant, in-ear monitors, a couple of micro-fiber cloths, Planet Waves fingerboard conditioner, Dunlop Lemon oil, Pirastro string cleaner, Dunlop Orchestral instrument polish, and hand sanitizer gel. I don't tend to keep too much in my actual bass gig bag apart from a Supersensitive square rubber endpin stop and a notepad and couple of pens. [/quote] You take [i]four[/i] different types of instrument cleaning products to every gig?!

Never heard of anyone using it. Here are the ones I'm aware of: I use Carlsson. It's basically the same as Nyman's (as far as I can tell, possibly same rosin with diff name), but some say it's little bit softer and stickier. People seem to like Pops a lot, which is stickier than either Carlsson and Nyman's. Somewhere in between Pops and C/N is Kolstein's soft, which is also highly rated. Lots of players will choose a harder rosin for the summer months, and a softer one for winter. I don't think the difference is huge in the uk to be honest.

I think that playing transcribed horn solos at up to speed on bass is very difficult. However, that doesn't mean you can't get valuable information from transcription. You can shed and apply transcribed language indefinitely, and it will do wonders for your playing and musicianship. Long post so bear with me, hope it's of some help. What you could do is think in terms of patterns, and variations on patterns, taking tiny melodic fragments from transcription and working them into your playing creatively. This can help avoid a feeling of playing the same stuff over and over. This could be done with literally any melodic fragment, but for this example let's take the first phrase of the melody to Crazeology: [url="http://www.guitarcats.com/images/JazzStandardCharts/Crazeology-67.jpg"]http://www.guitarcat...azeology-67.jpg[/url] It's D C Bb A C Bb. First, think about the chord it's played over: Bb major. What are these notes? 3 9 R 7 9 R. You could take this melodic fragment and run with it: Learn to play it all over the bass with different fingerings. Take it as is through a given scale, based on the pattern of intervals. This pattern is a 2nd down, 2nd down, 2nd down, 3rd up, 2nd down. You could run this pattern all through the Bb major scale. For example, the same pattern starting on A would be: A G F Eb G F. Try starting this pattern of intervals on every different note of a Bb major. Keep the rhythm intact, but place it in a different place in the bar. This can often change the vibe of a given phrase. Vary the rhythm of it. This is all 8ths, but you could stretch this in any way you please. A relatively mundane example is if played in just quarters it could be part of (a bar and a half in 4/4 or 2 bars of 3/4) a walking line. Add rests, whatever you feel like - the limit is your creativity. You could do all triplet quarter notes even. You could take a rhythm from another transcribed phrase and use that with these notes. Keep the same rhythm but vary the notes. What about D Eb F G Eb G (the pattern reversed). What about D Bb C Bb A F. You can add notes, or subtract as you like. Vary the notes and rhythm, to get a completely new phrase based on the original in a manner known only to you and telepathic audience members. All this so far is keeping true to Bb major. You could (should!) do all of the above in every key: Db major, G major, E major etc... Try playing the same melody over different chord qualities in Bb using the mode you like to use over them. Try for eight different chords to get you used to the main types used in jazz:[list] [*]major 7 (major or lydian) [*]minor 7 (dorian) [*]min7b5 (locrian, or locrian natural9) [*]dominant 7 (mixolydian or lydian dominant) [*]dominant 7 b913 (half-whole diminished) [*]dominant 7b9b13 (altered, or 5th mode of harmonic minor) [*]diminished (whole-half diminished) [*]minor major 7 (melodic minor). [/list] What notes, if any, do you need to change in the original phrase to fit new chord qualities? Then apply even more rhythmic and melodic variations in new qualities. Take the pattern through each of these scales in the same way you took it starting on different notes. Do each chord quality in every key and you'll have something to play over any one of 96 chords (12 keys, 8 main chords) - you'll be laughing! What about taking the same melody through a tune you're working on? You could play it as it is over every chord, only changing those notes you need to make it fit the chord quality being used (i.e. starting from D every time, e.g. over C minor 7 it would be the same pattern, but over Ab7 it would be D C Bb Ab C Bb if you choose lydian dominant sound, or Db C Bb Ab C Bb if you choose straight up mixolydian sound). Or you could transpose it and start on the 3rd of every chord. (e.g. over C minor7 it would be Eb D C Bb D C, or if there was an Ab7 it would be C Bb Ab Gb Bb Ab). Add in some rhythmic and melodic variations of the sort you've been doing and you can craft an entire solo based just on one melodic fragment! So, I hope this post has helped a bit. Don't get hung up on the technical side of transcription, when there's a very deep musical side to explore without the need for the technique. Plus, basically all bassists find soloing like a horn tough Good soloing though is based on an understanding of melodies, which is what the audience want to hear. If you work on this, you're really working on so many different jazz-related skills. You're learning your modes associated with chord qualities. You're assimilating good language, you're building facility on the instrument, if you're singing these phrases too you're working on your ear, you're building your musical creativity and importantly you're (hopefully) having lots of fun! If this post isn't answering your question or isn't that helpful then do feel free to tell me to naff off

Glad to welcome another player to the brotherhood of blisters

Welcome to the DB family. Any questions just ask

Bought a Source Audio Manta off Nord. Nice guy who was patient with stupid questions, and was quick to get the pedal packaged and delivered. As easy as basschat purchases come. Thanks!

Bought a flashback delay from Tom. Great BC'er to deal with: polite, prompt, and clear. Everything was simple and easy. Thanks!

Oscar, have been having a fiddle around with this stuff for a few days, and I'm really enjoying getting into it - thanks for the resource! Have you considered doing this for the harmonics available on a high C string too?

Less about the bass, tell us more about the hat! Back on topic: classical or jazz is a bit of a divide in what you're aiming for stringwise. You could try Spiros (weichs if you want lower tension), which are a standardly standard string for jazzers. They bow less well than you might want for classical playing, depending on who you ask, than some other strings. I did fine on them as part of a section, but might not be a soloist on them. Or any string let's be honest. I'm currently on helicore hybrids (E and A at least), which I love and would also recommend unreservedly, but they're maybe less widespread than the spiros.

It sounds like fun! It was a shame to miss the last one.

Some beautiful sounds in there! Would love to more about your signal chain