Faithless

Don't forget the 'jam-sync' thing.. I would never ever go to such a gig, no matter, what money..

Can't agree with you more, Rob.. Thanks.

[quote name='Doddy' post='719175' date='Jan 20 2010, 06:04 PM']If you have doubts,or just are not 'feeling it' maybe it's not for you. If you took up a horn,you may feel the same way. It's really about what you want out of it-don't play it if you think you 'should' be playing it,play it because you 'want' to and are willing to put in the practise.[/quote] The thing is, I [i]like [/i]playing it, but, what puts me down, and gets me in doubt, is that I'm not practising it a lot, as I prefer electric, and it would take me years, if I'd like to gig as a DB'er.. In other words, I think, in my case, with 20 minutes a day DB practice, I will hardly be able to call myself a d[i]ouble bass player[/i], well, I wouldn't dare to do so... Even more, there are hardly any jazz gigs here, at us, so, playing DB for getting more gigs would only work, if I'd move to other country, like Poland/Netherlands or something like that.. (and I'm actually planning to do so in future..) [quote name='BottomEndian' post='719232' date='Jan 20 2010, 06:40 PM']As someone who used to play a horn of sorts (euphonium ), and as someone who's done a lot of singing, can I just ask: why not just [b]sing[/b] horn lines to develop the phrasing and breathing stuff? I always used to phrase on the euphonium by thinking of how I'd sing the line, and that's what I do on bass as well. IME, the rate of air leaving the lungs is roughly the same when singing as when playing brass (dunno about saxes). Singing: it's a hell of a lot cheaper than buying a horn, you can practise anywhere and you don't have to learn saxophone fingerings.[/quote] Yep, I'm already doing singing on practically everything I practice, but, I thought, maybe a horn could give me some different exp on phrasing and such..

This one goes from TB.. Made me smile. [url="http://www.talkbass.com/forum/showthread.php?t=619987"]http://www.talkbass.com/forum/showthread.php?t=619987[/url] [i] Just auditioned for Lady Gaga's 2010 world tour.... and it SUCKED! One of the most unorganized auditions I've ever been to, and as they line us all up to go in and play in front of each other, this woman tells us that they already heard a bunch of players yesterday so today is just a courtesy for them to listen to us. But chances are, we won't be getting the gig. Great. So we each literally played about 20 seconds, and then they thanked us and asked us to leave. The judges hardly even acknowledged any of us let alone listened to us. Obviously no one got the callback. I was one of the younger, but experienced guys there like they asked for, but there was a good blend of amateurs who couldn't play at all and NYC session vets with their Foderas and Sadowskys. Yet, nobody got the gig. It was clear that they were going for a very specific "look", but it was a little rude the way they treated us. I mean, I wasn't expecting them to roll out any kind of red carpet for me, but I DID wake up at 6 in the morning to get there by 9 and then sat around till 12:30 to be told they're going to listen to me as a COURTESY! Lady Gaga world tour auditions: FAIL. But good luck to whoever got the gig. I heard the whole band has to "jam-sync" to the track anyway....woops....I don't think I was supposed to say that....[/i]

I may not have clearly outlined this, but I'm already studying piano among other things, and I'm doing it quite actively.. Yet, I've been taught classical piano in music school, whereas jazz piano is a brand new thing to me..

[quote name='bilbo230763' post='718963' date='Jan 20 2010, 03:30 PM']I say stick with it. The horns are a good idea but can you get as good as you need to be on what are very different instruments.[/quote] I dig, what you're saying, Rob.. Wattabout horns, if I understand correctly, then I gotta say, it's not about, how good I'd be on any of those, it's just about practise/experience. If I'd take a horn, it's clear, that I won't be going for a gig with it I'd take it for reading, phrasing (breathing) purposes. BTW, I got this 'horn idea' from one of my faves, Janek Gwizdala - guy is a monster reader, he now even practises reading horn parts on bass (when you need to transpose on the spot), also a wonderful improviser. He took a year or a few on horns, just for those purposes, I mentioned.

So, I've bought a nice EUB a few months ago, just for curiosity, as I've never played such a thing - fretless, different approach, and stuff.. But, actually, I'm not planning (and have never thought of it) to specialize in it (EUB/DB).. It's all fun, but as my passion is electric bass, and, especially, as now I have fretless electric made for me, and I have a hell lot of other things to do in music, like piano, rhythm studies, bass,transcription work, and such.. and I'm mainly concerned in jazz music (sight-reading, phrasing), I thought, maybe it would be better to spend my 'double bass time' on such instrument like trumpet, or saxophone.. What do you, guys, think, is there any reason, why I shouldn't abandon double (EUB) bass? Cheers, Faith

That's is some nice stuff, Tom.. Though, I'm not sure, if everyone, signed in this thread, is familiar with word/process 'Transcribing'..

Kinda Wooten'oesque and very nice!

A nice Stevie Wonder's tune for all you, Motown lovers.. [Sorry for backing audio quality] Enjoy!

You saw the question.. Let it be 6-chorus Coltrane solo on Giant Steps, or just simple accompanying The Police bass-part.. I'm basically interested, in what fellow bassists do transcribe.. So we could share, and maybe catch some suggestions from each other to work on.. I've just started working on Berklee Woodwind Head's, saxophonists, Bill Pierce's solo on a plain 12-bar blues..

Some great thoughts here, chaps, thanks Wattabout treble clef, I also do sight-reading from it, as, in my college jazz ensemble, I got to play standarts' melodies, which are all writen in treble.. And, wattabout my question, I ended up choosing to sightread Bach pieces (1/2 of C major prelude, today - and there are some damn chords with crazy fingerings, as Doddy said!!), and Rich Appleman's (Berklee Bass head) Sightreading book (varies stuff - walking bass, latino, funk, rock and such..) for everyday sightreading practice, that is..

The thing is, I'm not 'concerned' in Classical music, most of the music I play is Jazz, Funk and Pop.. So, in these kinds of music, there's a lot of rhythmic patterns, pauses and such thingies, whereas, at least, in Bach's tunes, it's way different thing, if you know, what I'm saying..

So, I was practising my sight-reading at the moment, and, as I have a book of Bach preludes adapted for bass in my pc, it got me thinking - is it worth practising to sight-read classical music? Ok, it's chords, big intervals and such,but, on the other hand, it's pretty straightfoward - 90% of time there goes groups of 16th notes, and that's it.. So, is it worth to sight-read classical stuff? Faith..

Thanks a lot, guys.. I'll also check his new album, how Yammy sounds - last time, I heard his yammy at bass day 97 show - terrific clank-o-twang sound.. Although his solo on Coltrane's tune was the best from all that bunch of players.

Ok, so I've seen John P playing Ken Smith basses a while ago, but now he sticks with his custom Yamaha. I must admit, I can't stand his sound on Yamaha, but I love him on a Ken Smith. I've checked Talkbass, but could find it anywhere, so.. Anyone could tell me, from when till when he played Ken Smiths, and what albums should I check out, where he uses a Smith? I've seen him doing his thing on Smith, when playing with Chick Korea, but, that was a live thing.. Any info greatly appreciated, Faith

[quote name='wateroftyne' post='713424' date='Jan 15 2010, 11:23 AM']Ah, fair enough. it just feels more African to me.[/quote] Good point here. But, then again, a lot of Latin is influenced by African music and (maybe)[i] vice versa[/i]?

[quote name='wateroftyne' post='713411' date='Jan 15 2010, 11:09 AM']Great line! I'm not hearing any latin in there, mind..?[/quote] Sorry? So, how would you describe it then? It's not the first this kinda groove I meet, and stilistically it's always described as Latin Gospel..

What's the album called? I want it also.. And, yeah, it's very helpful to play some dead notes, as they help you not to loose groove. BTW, it's also very helpful to play a 'dead' 16th note [i]just before[/i] the first note of every little phrase you're playing in this kind of groove.. 2nd BTW - keep attention to drummer's bass-drum during chorus - it plays the exact rhythmic figure, as does bass player .

Ah, that's the kind of groove I was practising last time In the chorus, it's all about the upbeat thing, which you have to get.. Sadly, (at least, for me), there wasn't any other way, than practising over and over along to the groove. With time, upbeat 'feel' will become more and more friendly to you, it simply needs to take some time. What would I do, is to put recorded bass part in to the front, and play along with it for a few times. (do it slowly) Then, cut the bass out, and, at the same tempo try playing it all again, and, if you can, [b]record [/b]it. Recording will not lie BTW, awesome song - listening for a 5th time, no break Astounding rhythm section. Faith

In fact, the name itself doesn't do the 'trick' for me.. I'm interested more about the woods, the sound, how it would in the mix, and stuff like that.. Wattabout the worth of price, in fact, there isn't much difference between my Ibby and this Pedulla.. My Ibby is discontinued now, it's 2004 year birth, at this moment is should be worth about 1k quid (Ibby prices have gone higher now, it seems..), whereas this secondhand Pedulla goes for about 1200-1300 quid..

So, a mate of mine is selling this one: [url="http://www.pedulla.com/html/thunderbass.html"]http://www.pedulla.com/html/thunderbass.html[/url] photos: [url="http://i563.photobucket.com/albums/ss74/KamaZas/pedulla001.jpg"]http://i563.photobucket.com/albums/ss74/Ka.../pedulla001.jpg[/url] [url="http://i563.photobucket.com/albums/ss74/KamaZas/pedulla002.jpg"]http://i563.photobucket.com/albums/ss74/Ka.../pedulla002.jpg[/url] [url="http://i563.photobucket.com/albums/ss74/KamaZas/pedulla003.jpg"]http://i563.photobucket.com/albums/ss74/Ka.../pedulla003.jpg[/url] [url="http://i563.photobucket.com/albums/ss74/KamaZas/pedulla.jpg"]http://i563.photobucket.com/albums/ss74/KamaZas/pedulla.jpg[/url] What could I expect out of this instrument? Btw, what her string spacing? Couldn't find it.. In fact, my Ibby Prestige, is quite similar, in terms of pickups (Bartolini soapbars), neck-thru stuff, and such.. here it is: [url="http://www.gbase.com/gear/ibanez-sr-1005-ewn-prestige-5-st-2005-walnut"]http://www.gbase.com/gear/ibanez-sr-1005-e...-st-2005-walnut[/url] It's 2004 model, not made by Ibanez anymore.. Worth swapping or not?

Tone? ^_^ But, I'm afraid, it's in his hands.. Problem is, I struggle to find any info on his bass specs (this is 4 string Pensa, all I know..)

C string problem solved for a while - I've just put a roundwound C, it's sounds practically the same.. Only the looks doesn't do the trick for me: 4 black + 1 bright strings.. We've tried bass sound capabilities with my tutor, and came to conclusion, that pickups let the whole thing down (cheap bass, stock pickups..) I'm after Jazz bass pickups for 5 string bass.. Not anything expensive/fancy. Any suggestions on this? Cheers Faith

For f*cks sake, how much more time has to pass, when people will stop spilling sh*t on Vic without any actual reason? At least, I haven't seen a single one in Jester's comments.. It seems, that for some of us, it's more important, that [b]other [/b]people [b]have [/b]know, what we like and what we don't about this and that bass player, than it actually cares for ourselves.. Please, shut this miserable thread.