wulf

Doh! Only just seen this one. Nevermind... Wulf

ABC is a handy system for sharing simple lines. You can read straight from the ASCII version but the real beauty of the system is that it is easy to transform into standard notation. It's main limitation is that is (or at least seemed to me when I dabbled with it a few years ago) limited when it comes to rhythmic complexities; it would be great if you are exploring walking basslines (often just a stream of crotchets) but less so if you are trying to chart out some funk. Wulf

[quote name='The Funk' post='482019' date='May 7 2009, 01:27 PM']Any advice for a rhythm n' blues player taking his first steps in jazz?[/quote] Ask them for some slow tunes? After a while, you will find that you can hang on round the curves even on the faster numbers but there are plenty of songs in the jazz repertoire that are typically played much slower (eg. "My Funny Valentine" works wonderfully when played at such a languid pace you have time to stop and consider each note before you commit to it). Other than that, work on the tunes they've given but practising at a pace where you have time to think about the sequence of transitions that make up the harmonic progression rather than struggling to just throw any old note at the chords. Wulf

I have a set on my fretless Washburn XB-600 (the choice of six string sets of flats is pretty limited and Status were the ones who gave the best range of options). They do the job although, to be honest, I find them quite stiff. For a cheap option, they are great but if you don't get on with them it doesn't necessarily mean that other flats won't work better for your needs. Wulf

[quote name='dlloyd' post='478021' date='May 2 2009, 11:03 PM']I currently use Finale Notepad, which is free and fairly easy to use. It certainly has some limitations, so I would appreciate it if anyone who has experience of both could compare them.[/quote] It is several years since I last used Finale Notepad. My impression is that Noteflight is slightly more powerful (does Notepad still have limitations about changing key / time signature mid-song?). The online thing is its unique feature though (cross platform benefits and also potentially easier to share with others as well). Wulf

Tonight I finished off my practise time by investigating [url="http://www.noteflight.com/"]Noteflight[/url]. This is a notation editor but with two big distinguishing features from most of the competition: 1. It is free to use 2. It is an online product which you access via your web browser. I found it relatively easy to pick up and it did everything I demanded of it tonight (rough bass transcription including some triplet runs and a couple of bits of text to mark key points). I have only scratched the surface but suspect there are plenty of things it can't do (I didn't notice an option for cross noteheads to denote ghost notes, for example, although I didn't need them tonight and so didn't look) but if you do like to write notation but find you can't read your scribbles back when it comes to use them, it is definitely worth a look. Wulf

I've done a bit of playing since moving up here but have my first gig with my new group, [url="http://www.myspace.com/djinnuk"]The Djinn[/url] at the Folly Bridge Inn on Abingdon Road (OX1 4PD) on Saturday evening (2 May) at 8pm. Tickets (£5) are available [url="http://www.wegottickets.com/event/48556"]online[/url] or on the door and the promoter's blurb (including the other two bands on the bill) is below: [quote][url="http://www.iwishiknew.nl/"]I Wish I Knew[/url] UK tour - Oxford Being rooted in diverse music genres, indie-band I Wish I Knew from the Netherlands present a thorough blend of such diverse styles as postrock, shoegazer and new wave. The guitar tandem Jasper and Jeroen produce a raging, melancholic and psychedelic atmosphere in combination with the ethereal female vocals of Anita, being backed up by the firm rhythms of bassist Simon and drummer Erwin. A true must-see for everybody who loves music from the heart, ranging broadly between the likes of Dead Can Dance, Mogwai, The Cure and Explosions in the Sky. Other places on this tour: London, Leigh-on-Sea, Swansea, Manchester, Worksop, Nottingham, Birmingham. [url="http://www.myspace.com/boogband"]Boog[/url] Boog are London-based and blend glam and prog sounds with pop-rock, jazz and metal leanings. They've played the "Carling Islington Academy", Camden's "Bull & Gate", Islington's famous "Hope and Anchor" and Oxford's Jericho Tavern. [url="http://www.myspace.com/djinnuk"]The Djinn[/url] Witness the very first gig of a brand new Oxford-based trio. Comprising Dave Seck on spanish guitar, Wulf on bass, and Hungarian import Adam on various items of Latin percussion, The Djinn showcase mainly original material, combining Latin, jazz, folk and good old singer-songwriter stuff. Sure to become a local fixture.[/quote] Come and see me and my Sei bass! Cheers, Wulf

[quote name='Eight' post='442379' date='Mar 23 2009, 01:07 PM']Can anyone say how the tone compares to other basses? I'm in the market for a new bass (for metal) and want something with a fairly thick, scary low end (as opposed to too punchy a sound).[/quote] I tried one for the first time last week at PMT in Oxford. I worked through about 15 basses (I was mainly look at whether I could find anything half-decent and cheap) but was intrigued enough by the Traben Neo they had in to give it a quick spin. My impression was that the tone was clear and bright, the bass felt responsive and the sustain was good. It wasn't quite what I was looking for but I think they are definitely worth trying if you have a supplier near you (although I didn't really get a "thick, scary low-end" vibe off the instrument. Wulf

The downside of a low action is that it moves further away from an upright bass sound. When I got my Stagg, my brother (relatively experienced on DB) noted that the action seemed very low to him, although it did make it easier to play. I've subsequently adjusted the bridge to make the action a bit higher. One benefit of the Stagg is that the adjustment is pretty simple (solid bridge mechanism and no sound post to worry about). Wulf

I spent a long time puzzling over the Simandl positions. Eventually it struck me that they reflect the natural notes along the A string: 1st pos: B 2nd pos: C 3rd pos: D ... etc Between those are intermediary positions, so Simandl starts his exercises in "half position" (eg. from Bb on the A string). That made it easier to remember where the positions were meant to be. It still doesn't make a whole lot of sense although I did note that A is the top string on a cello so there may be some cross-over with classical teaching for other bowed, stringed instruments. Wulf

[quote name='Maxcat' post='329520' date='Nov 15 2008, 01:26 AM']OOOPS. Was it the hardware that broke or the strap itself. Ive got to be honest, i carry it like a fishing rod using the two carry handles, but I have been tempted to sling it over my back. Not any more mind you[/quote] Apologies - I'm a couple of months late on replying to this one! It was the stitching where the shoulder strap joined the case at the top. Over the shoulder was quite convenient but "off the shoulder" was less fun so be careful of that. Wulf

How about a Stagg EDB? Very inexpensive and will also give you the ability to amplify it when you are ready to play with bands without having to invest yet more in mics / pickups. It is also more transportable and can sit in a corner ready to practise on without dominating a room. I rented an acoustic DB a few years ago but amping, transport and size were the main factors that made me decide not to persist. I got the Stagg second hand via this site last year and that has been what has enabled me to get the buzz of gigging on an upright. I think I probably will get a decent acoustic bass at some point in the future but the Stagg has (and continues to be) an excellent training tool. Wulf

[quote name='MoonBassAlpha' post='375513' date='Jan 9 2009, 06:40 PM']Nice bass BTW! it's a ...... ?[/quote] Sei Flamboyant six string. Also, I must get round to updating my signature sometime. My relocation to Oxford has put paid to my regular involvement with the two bands mentioned but I have now got a local project brewing... Wulf

I'm not around this weekend. Have you got any other gigs in the Oxford area coming up soon? Wulf

Careful with the case! Coming back from a rehearsal on Sunday evening, the shoulder strap broke. I thought I had caught the bass in time but obviously not as, when I opened it up on Monday, I discovered I had split the headstock! Glued, set, clamped and reinforced with a couple of wooden dowels, it seems to be holding up and I will be using it at a gig tonight. However, I would rather not have had the opportunity to practise my luthiery skills! Wulf

We're starting to see some people - if anyone else is interested, please let me know soon. Thanks, Wulf

Hurrah for gigs (and, indeed, bandmates) that offer the opportunity to try something different and discover something new. Wulf

I'm in the process of relocating from London to Oxford for work purposes. One of the things that will have to go are the bands I'm in. I let them know as soon as the new job was confirmed and may be able to help them out from time to time in future (I value their friendship and what I've learnt with them). I've got about four weeks left and a couple of gigs with each of them (one, joint event being a farewell gig I'm organising myself). Of course, that's a bit different because I have a strong, unassailable reason for moving on that doesn't hint that "I'm fed up of playing with you guys". I have moved on from other bands in the past though when I have found my time being too squeezed. Most recently, about 3-4 years ago, I was getting pushed for time being in two groups so chatted with the rest of the band and gave them a couple of months and as much help as I could in finding a replacement (I don't think they actually did but there were other currents in the band which was one of my reasons for knocking it on the head as a dead end). I do think fixing a date is important and that should probably link in with honouring most or all future gigs. Obviously that depends on your band's schedule. If your band has a set of common covers and gigs once in a while, you might offer to complete anything booked in the next month or two and then stop; if it is all complex originals and you have a monthly residency, a longer notice period and perhaps offering to cover a couple of further regular slots after you finish rehearsing with them might be a more helpful offer. Wulf ps. See [url="http://basschat.co.uk/index.php?showtopic=29778"]this thread[/url] if you're interested in the 'Teeth and also let me know if jazz is your thing....

[quote name='Josh' post='311206' date='Oct 21 2008, 11:10 AM']I define the sheer act of spending 3+ hours every sunday morning singing tacky hyms in hope of being promised a place in Heaven as delusional...[/quote] You are not backing up your assertions with well-grounded facts. Anyway, wasn't the original post about the musical and production values of the church in question and not the delusional / ill-grounded nature of various belief systems? Wulf

It could get messy. Do you pay for petrol when you get a lift? If someone else doesn't like your solution, you might start finding other costs coming your way! Saying no to people using the main rig but yes to the Ashdown might be a better solution. Wulf

Did you get anything sorted out? [url="http://basschat.co.uk/index.php?showtopic=29778"]This[/url] may interest you. Wulf

Did you get anything sorted out? [url="http://basschat.co.uk/index.php?showtopic=29778"]This[/url] may interest you. Wulf

One of my regrets in setting plans in motion to move from London to start a new job in Oxford next month is that I'll have to step out of [url="http://www.web-den.org.uk/elusiveteeth/"][i]The Elusive Teeth[/i][/url] ([url="http://www.myspace.com/elusiveteeth"]MySpace[/url]), with whom I've been playing for 4+ years. Realistically, the band isn't going to be "the next big thing" but has competent, mature musicians and some great songs. The music is rock based but with some prog and folk influences (don't worry - I'm the only one with the beard!). Current line-up, including me, is vox, vox + rhythm guitar, guitar + vox, bass + vox, keys and drums. The two main vocalists are relatively new in the band so gigging has been fairly light recently while they get up to speed. Having a new bassist would extend that a bit longer but at least would see things moving forward. The band rehearses most Thursday evenings in Mitcham in a warehouse belonging to the guitarist (and band leader) which is wonderful, as it means plenty of time for getting things right and no rehearsal fees! Let me know if you are interested. Cheers, Wulf

[quote name='Thunderhead' post='305264' date='Oct 13 2008, 09:18 AM']Shouldn't be...[/quote] The major surgery wouldn't be adding an extension to the fretboard but extending the cutaway to reach the new fret. It might be possible without adjustments but if you regularly go up there, the body is going to keep getting in the way. As other posters have mentioned, probably better to play it for what it is - bend the string if you need that extra semitone rather than hacking into the bass. Wulf