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[quote name='bassjamm' post='7429' date='May 27 2007, 12:54 AM']Yeah i was gutted that i didn't make the Tony Grey gig, i only found out the day after the last night at Ronnie's...gargh!!! I've only recently started to get into his playing really, got his album yesterday, and got John McLaughlin's Industrial Zen (thanks for the tip off on that, got Hadrien's too...not bad, some quirky stuff). Sounds like the day wasn't that wicked then, shame...i need to get more gigs in Nott's, i live 25 mins from it and haven't ever gigged there, would be cool to see if there's a jazz scene, not sure. Are we going to get a Tony Grey interview in the next bass mag then? Should be wicked man!!! Really enjoyed your Bona one in the current issue, quite insightful really, i bought a load of his albums this month, can't say that i dig them that much, but it's interesting to listen to and see what he's about...i guess it mainly streches back to his culture, so from the point of view, it's inspirational, and his voice is amazing! Did you get a chance to interview Janek while he was over here?[/quote] I have a ticket for Tonys gig with Hiromi, and David Fiukzynski at the Brecon jazz festival this weekend if anyone's interested, I can't make it unfortunately.

How much were/are Fender selling the Pino precision bass for ?.

It's funny but I've just switched back to using DR's from Elixirs. The Elixirs seem to be lacking in the lows, they seem to be all mids...lower and upper, a bit sterile I suppose. The DR's have far more character, and a far more detailed, full and complex sound to them. I've been using the Elixirs for a month or so, and sort of liked them, but thought there was always something missing in the sound.

[quote name='OutToPlayJazz' post='41282' date='Aug 4 2007, 03:22 PM']That's a fantastic looking Ibanez, Luke... Got my eyes on that six-string Status as well... [/quote] Erm.....that's a Sei flamboyant.

Thanks for all of your advice, I'm seriously thinking that an EUB would be a better option though.

[quote name='therealting' post='41549' date='Aug 5 2007, 12:20 PM']Prices are about supply and demand. Martin is probably getting more orders than he can build and still keep up quality. He is also growing in reputation, and no doubt in his experience and skill as a luthier. I think it's only fair that given those conditions, he has the right to increase his rate. As a gigging or session musician, if you start getting more offers of work than you can manage, you are well within your rights to increase your fee. There will be people who think it's too high, and they won't employ you, and others will think you are still worth it. Others may actually perceive you as a better player because you charge more! In any case, it helps you deal with the decision of which work to accept, since it gets filtered out for you. You get more money for the same amount of work. May I also point out that someone like Martin (a WORLD class luthier) probably spends many many hours working on a bass. Once you subtract the overheads and materials costs, and then divide the remainder of the price by the number of hours he spends building, he probably doesn't get a much money per hour. Probably less than an average Joe gigging bassist.[/quote] It's about 100 hours or so per instrument.

[quote name='Crazykiwi' post='41536' date='Aug 5 2007, 11:47 AM']Sometimes price rises can be as much about increasing percieved desirability - does anyone know how many he's selling a year? Perhaps Martin is trying to market to a different niche? Maybe he's pushing towards Fodera territory? BTW, the link doesn't work for me[/quote] He did tell me last year how many he makes a year, I think it was 20 or 30, I can't really remember. Don't forget that Fodera have a 3 or 4 year wait time at the moment.

I can only speak from personal experience. My Sei is an equal to any bass that I've owned, this includes Wals, Status, Alembic etc. My Sei is a fantastic instrument, it can produce pretty much any sound that I hear, and allows me to play how I want, it doesn't hold me back. I'm also waiting for another bass to be finished, this was ordered in September last year, and will be ready in September this year, but I know it's going to be worth the wait. Dealing with Martin is so great, he makes the whole build process easy, and will tell you if something isn't going to work.

I was thinking of getting a real acoustic, but they're just so big, and it seems like it's very easy to buy something that is............ A) Not very good. Going to end up costing a lot to have put right, or set up. So now I'm thinking EUB. I've read that some sound like a fretless, which I don't want. I've got a bit of a short list, as follows. 1) Clifton, I've heard only good things about these, and there's one for sale on here. 2) Bassix, I've heard some good things about these as well, and again there's one advertised on this site. 3) Steinberger CRT, I really like the look of these, I haven't played one yet though. 4) Have one made, the Shukers look really good for the money, I'd like it on an end pin though, I don't like the cymbol stand. Cheers

It says made by Andreas Zeller for Stntor music. What's the difference between flat and curved back instruments. Also what sort of price would you expect to pay for this. Cheers.

Does this look any good, what should I look for if I go and look at it. [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&rd=1&item=290144309908&ssPageName=STRK:MEWA:IT&ih=019"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...A:IT&ih=019[/url] All of your opinions are welcome. Thanks

That is quite horrible, imagine trying to hold the neck up while trying to play it. It's obviously only fretless because he doesn't know how to put frets in. I have the woodworking skills of a one legged gnat, but even I could make something that looks better than that, given the right materials and tools.......a blunt axe and that old fence panel that blew down in last weeks storm should do it.

[quote name='bassjamm' post='35565' date='Jul 22 2007, 03:09 PM']Don't let the fact that most of the above is Double bass stuff but you off, it's part of the history of the bass, let it influence you, jazz is just as cool on electric, if not more so in my opinion!!! Don't just listen for the bassists playing though, let the likes of Miles Davis and Cannonball Adderley, John Coltrane etc. influence and inspire you...i'm finding Michel Petrucciani's phrasing and voice on the piano particularly inspiring at the moment...get into the whole spectrum that is open to you within the music!! Jam[/quote] Jazz certainly is cool on electric, I only play 6 string electric, at the moment, upright is something that I'd like to get into . I did a gig last night at a party, we just played standards....So what, All blues, ladybird, My favourite things etc. It was in a pretty cool setting, semi-outdoors, it was supposed to be open air... it is July afterall, but we played under a giant awning on a decked patio that was as big as my house, in this huge garden. Loads of people were dancing, and really enjoying the music, all age groups and a lot of people afterwards said how much they'd enjoyed the music. and that it wasn't what they'd expected. They've never listened to jazz before, and probably had these pre-conceptions of what it was, and who it was played by, it was afterall a party they had been invited to, it wasn't a jazz gig, we just happened to be there playing, sharing the bill with a DJ. Yeah Petrucciani is fantastic, he seems to put so much into every note. I find myself listening more to pianists for soloing ideas, it used to be sax players. I agree with Oscar Petersons Nightrain, that was one of the 1st jazz albums that I owned, if not the 1st, it starts with a really nice walking line.

[url="http://www.amazon.co.uk/Trio-Tokyo-Michel-Petrucciani/dp/B00002R0OK/ref=pd_bbs_sr_2/026-1123226-7622841?ie=UTF8&s=music&qid=1185109187&sr=8-2"]http://www.amazon.co.uk/Trio-Tokyo-Michel-...9187&sr=8-2[/url]

[quote name='Paul Cooke' post='35480' date='Jul 22 2007, 10:30 AM']Just what recordings or Bassists should be considered landmarks in the art of walking a bassline? Electric Bass especially.[/quote] Check out Anthony Jacksons playing on the Michel Petrucciani trio live in Tokyo album.

How are you flying, which route. I bought an Accugroove 112 cab back from New York in January, we flew via Paris CDG. Consequently our return flight to Birmingham was from CDG, I didn't get stopped, I just walked through and out, they obviously just presumed that whatever I had in the large box had been bought from Paris. We booked our flights with expedia, and flew with AirFrance which worked out cheaper than flying direct with another airline.

[quote name='Mikey D' post='34848' date='Jul 20 2007, 06:36 PM']I can sight read bass and treble clef, also depending on complexity, reading and transposing Bb and Eb parts on the fly. If you want to be a complete musician I personally think it is very important and there is really no excuse to not learning it or giving it a go, as with anything. It can't do anything but help you progress on your instrument. As a music student i use the skill a lot: on gigs when a tune is called i don't know but they have the score/real book etc. For recording other peoples compositions, for learning transcriptions and parts for bands. Being able to look at and actually analyze the music on the paper is also a great skill to have as then you can actually get the concepts into your playing. Most people don't need the ability to read, but I stress learning at least a little to everyone i teach. Also, I don't use a metronome that often personally, but when I do it tends to be for walking practice with the click on 2 and 4 or if feeling fruity on the swung 'and' of 2 and 4.[/quote] Could you do this before you started your course, or is something you've learned since. I'm thinking of doing the jazz course next year, either that or the bass degree here [url="http://www.icmp.uk.com/"]http://www.icmp.uk.com/[/url]. I can sight read bass clef, but I struggle with treble, and as for reading and transposing, I have to pencil the notes in. You've kind of put me off Birmingham conservatoire a bit though with having to learn to play upright. It would make more sense though seeing that I live in Birmingham.

I use Status DB end on my headless Sei 6'er. I don't think you can really beat them, and the price is excellent. It's a pity that Elixir don't make a set.

It sure does look good for the money. Check the review out here [url="http://www.loopers-delight.com/tools/akai/headrushE2/HeadrushE2.html"]http://www.loopers-delight.com/tools/akai/...HeadrushE2.html[/url]