endorka

[quote name='dlloyd' post='289941' date='Sep 23 2008, 01:34 PM']I think it's probably quite telling that all the music teachers used them, and you're right... once you're past the first two books you can basically read anything you'll see up to grade eight.[/quote] Quite! I've done a lot of reading work recently where I've thought "thank goodness for those tune a day books..." [quote]I haven't seen them in twenty-odd years. Have they been updated or is it still "Merrily we Roll along" and "Old Folks at Home". I see the covers have changed...[/quote] No idea, the ones I have are from more than 20 years ago, but I can't imagine they will have changed much. Would be interesting to know for sure though. I tell you, playing the melody to some of these tunes with the bow on the double bass to a standard that people would actually want to listen to is pretty hard. Some of them have huge leaps, and keeping the intonation good is non-trivial. Jennifer

Definitely, especially since the scale length of a full size cello is apparently 27.4", considerably shorter than that of a bass guitar, 34"... Jennifer

No worries Andrew, I've seen plenty of situations where the carelessness or thoughtlessness of some people has caused serious hassle to those who aren't as mobile as they are, so I can understand your frustration. It is good to hear your point of view. Jennifer

[quote name='dlloyd' post='287439' date='Sep 19 2008, 04:41 PM']Arrrggghhhh!!!![/quote] So you're not a "Tune A Day Fan" then? :-) I found the books very useful, in a large part because of what Steve pointed out, that if you know how the tunes should sound it speeds up the learning process greatly. I think the books are well structured; they get you playing in most of the important keys, in most of the non-thumb positions. They are also very progressive; there is none of this turning a page and finding yourself completely out of your depth because of a huge leap of difficulty, something that many method books suffer from. Jennifer

[quote name='metaltime' post='287546' date='Sep 19 2008, 06:15 PM']I thought it was illegal to abuse wheelchair spaces. If its not then it should be. If i got on a train with my girlfriend and found a double bass in the only seat she can use on the whole f***ing train i would be tempted to kick a hole in it.[/quote] I did say "Other good areas are the wheelchair user's space [i](if not in use)[/i]". Obviously if the space was required for a wheelchair user I would move the double bass elsewhere immediately - indeed I did exactly this a few weeks ago, without the need for any woodwork to be harmed in the process :-) On the trains I use here the wheelchair space also doubles as a bike area - the guard removes the bike propping bar to allow access for the wheelchair user. Obviously the priority is for the wheelchair user, but it would seem that the intent is that it can be used for other purposes if not employed in its primary capacity. Jennifer

[quote name='chrkelly' post='287171' date='Sep 19 2008, 11:21 AM']*Practise your fake smile for when you're asked 'Don't you wish you played the flute?' for the 1000th time*[/quote] You're not kidding. Just the other day somebody got as far as "Don't you wish you played...", when they must have seen the look on my face and decided to call it quits at that point. Actually, I don't mind that one so much, the one I can't stand is "that's a big guitar!!!!!" Jennifer

Get a copy of "A Tune A Day For String Bass Book One" by Paul Herfurth. The tunes are pretty cheesy, but they work in exactly the way you describe. I've used this book myself, and book 2 as well, and it has improved my playing substantially. Jennifer

I carry the double bass trains all the time, and it's always been ok. I've never bothered to book in advance or anything... my feeling in that regard is that in the event of lack of knowledge on the matter, it would be as likely as not to invite a negative or expensive repsonse. As you mention, the bike area is a good bet, and also for trains travelling a fair distance there is sometimes a wagon at the back of the train you can store it in. Other good areas are the wheelchair user's space (if not in use) and the back of the carriage where you can sometimes lean it in a corner. Failing that you can sometimes place it on a seat. For your own sanity, avoid rush hour if possible. Jennifer

I recently acquired one, and indeed they do work. From my own experience, when switched to "D", I'd say that they are more useful for lines you've worked out in advance - improvising or sight reading complex lines at any great speed with the two lower strings tuned a fifth apart is alien territory for me. However, if you put the practice time in I dare say it would be possible. Jennifer

The main character in Iain Bank's Espedair Street, Daniel Weir, is a bass player... Jennifer

An item I ordered from them arrived damaged, and on reporting the problem they arranged the courier to collect and sent replacement without any intervention on my part. This was a few years ago, however, so it may have changed re: the post above. Worth checking I'd say. Jennifer

Judging from these photos, if you tilt the Laney amp back onto its wedge so that it acts as a monitor, you should be able to hear yourself better - the way it is setup at the moment most of the sound will not be reaching your ears. Relying on the PA monitors to hear yourself can often be problematic, as you appear to have discovered... Jennifer

Good stuff, it's great to hear R&B style music that has its own character. I like the bass tone as well, did you overdub the slap parts? Nice effect. Jennifer

[quote name='benbastin' post='240301' date='Jul 15 2008, 07:16 PM']I've also had some good luck with saloon cars, but you have to roll the passenger seat all the way back then the bass sits there with the neck going backwards, not ideal, but works.[/quote] I've done this a few times too, even in small saloons. The trick seems to be to put the bass in via the back door! Jennifer

Hi Jimmy! If this is the amp you're speaking of: [url="http://www.eden-electronics.com/products/amps/indiv/wt550.aspx"]http://www.eden-electronics.com/products/a...ndiv/wt550.aspx[/url] Then your logic is sound. I've run my Eden wt330 at 2 ohms in the past and it was fine. Jennifer

Did he play on Iscence on Erpland? I really like that bass playing. Jennifer

1) Attempt to convince him to do the gig, then quit. 2) Rework the material to use one guitarist -> one less mouth to feed. 3) If two guitars are necessary in a few crucial places, see if your singer can manage this. 4) Find someone else. Jennifer

[quote name='lowdown' post='242612' date='Jul 18 2008, 12:27 PM']And how many keyboard players say... " I have these really nice changes for Summertime" Chromatic...blah blah etc And they think every other keys player in the world has not said that... [/quote] Oh good grief yes. How often has this happened: you hand the chord chart to the pianist, who looks scathingly at it (whilst keeping it at a distance), and announces that "I wouldn't have done it that way". After an intense period of frowning, hand wringing, gnashing of teeth, and huge mileages of pencil scribbling, he evenutally hands the chart back to you with an air of triumph and satisfaction. "There! That's much better". And you examine the chart to find that then entirety of the reharmonisation is a tritone substition of one of the chords... Yup, that made a huge difference Jennifer

[quote name='bilbo230763' post='237247' date='Jul 11 2008, 12:46 PM']I've got Fifth Element somewhere, I'll have another listen...[/quote] It's a great soundtrack, unfortunately one of the cool reggae numbers in the film is not on it. "Diva Dance" with its vocal trickery is an incredible track IMO. The opening track is a really well constructed soft riffy rock number. Michael Nyman has composed some good film soundtracks, e.g. "Gattaca" Jennifer

[quote name='ahpook' post='234112' date='Jul 7 2008, 01:16 PM']could be the old 'tic-tac' approach to bass recording. one fat-sounding bass guitar and a baritone providing a bit more attack by doubling up the bassline. very common in country music iirc[/quote] In terms of instrumentation that makes sense, but the interesting thing about this particular tune is that the line is not doubled - they are quite distinct parts. Jennifer

[quote name='OldGit' post='234135' date='Jul 7 2008, 01:39 PM']yes, sure and that is fine if that is what they people wanted ... but it sounds from the OP as if they booked a rock band[/quote] Aye well, if I was running the show, that's exactly what they'd get, only quieter than usual :-) Jennifer

[quote name='Oscar South' post='233743' date='Jul 6 2008, 08:10 PM']Can anyone give me some advice on how you think I should prepare for it, how I should structure the lesson and also what info I should get from students?[/quote] Be careful not to give them too much at one time - what you have suggested for a first lesson, as Walrus says, is WAY too much, especially for a beginner. Depending on their ability, for a 1/2 hour first lesson for a beginner I'll generally get them to adjust the strap and hold the bass properly, then attempt to teach them how to pluck some open strings with a decent tone. Don't expect any more - e.g. tuning the bass using harmonics may be many, many lessons away for some. Perhaps one of the biggest lessons of all is to be humble as a teacher; the student is the focus of the lesson, not you. Sounds simple, but you'd be surprised at the number of experiences I've heard of where the teacher spent the lesson showing off their abilities to the student: net result - student feels inferior and learns nothing. Jennifer

[quote name='tauzero' post='233976' date='Jul 7 2008, 10:12 AM']For disservice to bass - James Jamerson, for making people believe that they should play Precisions with ten-year-old tapewound strings.[/quote] That's bad? Jennifer

Can I be the token contrary person? Do I need to ask permission? I don't see what the problem is. I've done hundreds of gigs where we have by definition had to play quietly - by this I mean that people should be able to have a conversation without raising their voices while in close proximity to the band. Think background music at corporate functions, restaurants, soup music at weddings, etc. I love it. There is often a great deal of artistic freedom and you can hear all that is going on with the music. You don't have to worry about earplugs or ringing ears after the gig. And you only require a tiny amount of gear to make it work - sometimes no amplification at all, so there is no heavy duty loadin, setup and breakdown. Nice. As others have suggested, use a minimal PA and keep it quiet. Get the drummer to use brushes, or even percussion. A free and easy "noise meter" are the people around you - if they're having to lean into each other to talk, you're too loud. So you can't play funky/bluesy/rocky music quietly? I disagree - I find that an audience favourite at the kind of gig described above is "Pick Up The Pieces" played on flute, acoustic guitar (or piano), double bass and drums (with brushes). Works really well. Jennifer

So I'm transcribing the bass on "Stop In The Name Of Love" by the Supremes, and discover an interesting situation: there appears to be two bass type instruments on the recording, a bass guitar doing a quite sparse line in the lower register, and another instrument doing 8th note things an octave or so higher. It happens throughout most of the recording, e.g. at about 0:25 here; [url="http://www.youtube.com/watch?v=1JplvR5MX6s"]http://www.youtube.com/watch?v=1JplvR5MX6s[/url] The upper instrument is within the range of a standard electric guitar, so I'm aware it could be exactly that, but it sounds somehow fatter. Maybe some different kind of instrument? Bartione guitar? Old style 6-string bass like the Fender Bass VI? Does anyone have any idea? Jennifer