gerryk

Good Call. This is seminal piece, often overlooked due to being murdered by repeated covers etc.

I never played original Tobias, but have had MTD just a year now, and have to say I've virtually played none of my other basses (64 jazz, MM jazz, 1980 MM Ray, Lakland US 5) since I got it. Beautifully made, great and versatile sound.

I went into very large local shop on Monday, to try out an amp. This is no corner shop - it's the size of many a tesco! I intended to do a deal on the day, if they were willing to meet me half way between online price and theirs, in order to support local store etc. As it turned out, they didn't have the amp in stock, as it had just sold. They said it would be 3 weeks before another delivery for that supplier. My previous experience with this store on estimated waiting times (waited 4 weeks for word on m-box, eventually gave in to Thomann), meant that i came home and ordered it from Thomann. it's already winging it's way to me, and there's a good chance I'll have it tomorrow. The m-box arrived an incredible 2 days after I ordered it. I think the only real avenue for the local music shops is to have a serious online store in tandem with street presence.

Another possible option is the Warwick Thumb 5.. I just happen to be selling mine! [url="http://basschat.co.uk/index.php?showtopic=81012&hl=warwick+thumb"]http://basschat.co.uk/index.php?showtopic=...l=warwick+thumb[/url] Cheers, GerryK

Doddy has this one spot on, if you ask me. I've done a good bit of this type of work, and invariably, there are changes to the parts, very often with little or no warning. If it's a slick operation, there's a production assistant on site, ready to print out on the spot, a revised chart for all instruments, with the required edits, such as removing 2 bars or adding a vamp etc, to allow for longer than planned set change, and so on. More typically, especially for a school/college production, the MD will call out edits for you to mark in on chart in pencil, and yes, it's quite common to have to jump from bar 22 forward a page to bar 68, then back to bar 32, and sometimes there are "inserts" handed out: little snippets 1/2 a page long, with extra bars for you to jump out to, and back in to main chart from again! Another very important aspect is that you have to watch the MD as well as the chart, because as earlier said, much of the time you're playing on Q. This is a separate skill from sight reading altogether. On the plus side, Rent is not particularly difficult as far as playing basslines goes. So if you're willing to know the set backwards in advance, then there is some room for "bluffing", up to a point. I'm depping in a production of Tommy in a few weeks time (one night only!), and I'll be getting a CD and the book of parts from the regular bassist to get familiar in advance. If you can get the book in advance of rehearsals, that will give you a real head start. If I were you I'd go for the gig, don't say anything about your misgivings. Know the material well. If you're lucky, they'll do group type auditions with several players playing parts from the show at one time, but if they're very stuffy about the Grade 6 thing, they might audition people individually, with graded pieces to be played solo, in front of a panel! You'll know what form the auditions take in advance of course. In any event, the point I'm leading to here is that you'll really need to woodshed your reading skills. You won't make the ideal standard, but you'll be amazed at how quickly you get the hang of it, once you PRACTICE REGULARLY! Regardless, I'd say go for, as it's all experience, and very valuable for that reason.

[quote name='ped' post='796145' date='Apr 5 2010, 12:22 AM']Ok guys I need a bit of advice about some practice gear. At home I want to be able to practice along to music on my computer or iPod. My bass goes into my Vbass unit and comes out of that in stereo, as two 1/4" jacks. I want to be able to practice along with music through my headphones, too. So, I want a small neat unit with two 1/4" inputs which work in stereo or mono when only one is used, a 3.5mm input for audio source, and an output also in 3.5mm. Might be good if it had a volume control for each channel (bass and audio) and a master vol. Battery and mains power would be cool, also. What's out there? Cheers ped[/quote] Any amount of small desktop mixers out there will do this for you. A 4 channel would allow you to use 2 channels for your stereo feeds from bass, lots of adaptors available if you need to convert headphone stereo jack to L/R phonos for input of ipod etc. You can go mega cheap with like of Beringer, or get something little more classy such as Mackie. There's also a tiny little pocket-sized gizmo from Samson called S-Mix, but it's all standard jack ins I think, but again if you're averse to adaptors, might suit you, but desk will give you much more control and flexibility.

It took me a long time to realise that when someone asks you to do a gig/session, or wants to put you forward, you've already got their approval! This should be a great source of confidence for you. You wouldn't be asked if the experienced sessioners didn't think you'd hack it. Much already said in replies above, but a few points to note from my experiences: Make life easy as possible for yourself if you get a session, i.e. know where the place is, how long it should take to get there: producers/MDs don't like being kept waiting for latecomers, as they're under pressure to deliver in a reasonable timeframe. Generally the rhythm tracks go down first, so I often get in a little early, and get a listen to the backing tracks as they're comping up the mix, if there are any. Have a scan over your gear a day or two before: you don't want easily preventable probs like dud batteries/strings/leads etc marring your performance. It's amazing how easy it is to forget this stuff, and if a particular session turns out to be a bit of a roast, the last thing you need is interruptions/delays due to your kit. It can really ramp up pressure if you're susceptible (I am!). If you have a "this is my left arm" bass, do bring it, but it's no harm to have options. I'd typically have 4 basses with me at least one a 5 string. The vast majority of sessions I do, I record direct into the desk, or if on upright, mic into the desk via a studio preamp, so I rarely need an amp, but it's no harm to have one if you don't know how they intend to record the bass. Re sight reading, you normally have a bit of time to scan the chart before run-thru's with the backng track or drummer. Many of the famous NY/LA pros emphasize this important tip - and I'll humbly add my vote. Scan the chart, noting any awkward-looking phrases, and break them down in advance of the run-thru. Also, at the same stage, note the layout of the track, i.e. the repeats, Signs, Coda etc, as this will make life much easier when playing the track. It there's a really tough phrase somewhere, don't become obsessed, just play thru the chart in time, and ask to be dropped in after the take at the part you're not happy with. This allows for good workflow, and prevents the drummer for instance, being cut short in the middle of a groovin take (for him!). Don't feel "amateurish" about this - it's very common for producers to ask drummers to play thru a whole track straight, then add fills after. As has been said, the chart might be written note for note, may be just a chord chart, or there may be none at all, there just being a pre-recorded guide track with, for example, simple click, some rough keyboards and vox. I've also done lots of sessions where I had to replace a synth demo bassline with real bass, note for note, or occasionally a very good bassline played poorly or with bad sound or tuning. In the absence of a written arrangement chart, if you're quick at sketching out a chord chart/road map of the song, usually producers don't mind you doing it, but trust your own instincts, if you're quicker just learning while playing along with the track, do that. Most of all remind yourself that you're there because they asked you, so focus on the gig in hand and enjoy! Cheers, Gerry.

[quote name='radansey' post='793092' date='Apr 1 2010, 11:13 AM']Gerry, Thanks for the offer. No, I'm not in too much of a rush - I would like to nail this over the coming months. Ta, Ross[/quote] Hi Ross, I've found that chart. A couple of things though; It's a big-band arrangement, written in F, a tone down from original, but if it's just for your own study, you can either transpose the chart, or just learn it as is? 2nd, just realised I've no working scanner so I'll take some hi-res pics later and pm you the jpegs. Cheers, Gerry.

Hi Sarah, I've used several combinations of cabs and amps over the years, Hiwatt 1x18, HH 4x12, Musicman 1x15, peavey 2x10, 4x10, EBS 2x10, demeter 3x10, and lately neo 112s. In my experience, by far the loudest and fullest sound for a cab on it's own is unquestionably the EBS 2x10, not a Neoline, but an old battleaxe of a thing I picked up for 250 quid! If you come across one S/H well worth a look. I was playing with a 4 piece guitar rock band, 2 deafening guitarists, and the drummer was the loudest I have worked with, but this single cab cut it, though driven by an Eden WT800. I'd suggest going for 8 ohm 2x10 cab for now (like the EBS). This gives you the flexibility to add 2nd similar cab in future/as required, and will optimize efficiency of your amp, by getting total speaker load down to 4 ohms, also moving more air than a single 4x10 cab will (these are typically 8 ohms too), and being easier to haul. There are lots of 2x10's knocking around reasonably cheap. Personally, I find the Peavey 2x10 to be a bit mid-scooped, so wouldn't recommend it as a single cab for use on it's own. Similarly, I find a lot of neo cabs (cabs fitted with lighter neodymium speakers) to sound too hi-fi, too smooth and gruntless. That's fine for some situations, but from your description of your band setup, you need cabs with attitude! I used one of the Ashdown heads you suggested earlier, thru an SWR workingmans 2x10, and I was very impressed, though the levels were relatively low, so no great test of grunt. Hope this helps, Cheers, Gerry

[quote name='radansey' post='789109' date='Mar 29 2010, 08:15 AM']Can anyone forward or recommend a good transcription of Birdland.[/quote] Hi Radansey, I've done an arrangement of it with a big-band about 10 yrs ago, and might still have the chart knocking around somewhere. If you're not in a rush, I'll try to dig it out on the weekend. gerry

Guys, Thanks all for your thoughts and experiences on this. i should probably add some flesh and background to my initial enquiry: Virtually every gig I do either has PA, or else is theatre/orchestral, where many string players will privately frown at the mere sight of an amp!!! When doing normal gigs with PA, my concern for good sound only extends to the limits of the stage. I've been using the EBS Neo 112, with a replacement normal magnet cheapo speaker bought from Thoman, and it's genuinely better than the stock EBS driver, and virtually no difference in weight. From all that's been said so far though, I don't know that the Epi will be appreciably better than the EBS, if used alone. That's where the Barefaced Big Baby comes into the equation, as it can, according to Alex at BF, take my Eden WT800 in bridged mode (800W!), with very broad freq response and hi DB sensitivity, all in a single light box, the slightly larger size of which might actually be beneficial for audibility when standing close to it - as we so often have to do. Pity it's so much more expensive! If anyone has any experience of the Big Baby, though I think it's very new... Cheers, Gerry.

[quote name='JTUK' post='791778' date='Mar 31 2010, 12:32 PM']Epi were on my radar until I heard my freind use 2 1x12's.. I think the term is pillowy..and it sounded soft and flabby out front so if that is how it projects it isn't for me. I heard this a few times now and he doesn't sound like that with SWR, for example, so it isn't his inherrent sound, IMV..[/quote] Hi JTUK, That's interesting, first bad comment I'v come across so far. I wonder is it anything to do with using 2 together? I've seen cancellation problems using 2 EBS 210s on top of each other, though no problem when placed side by side on floor! Chers, Gerry

Hi John, That's a great insight, right on the money: it seems that there's a convergence of interest in those 3; barfaced, Epi and Berg. I've been researching all three, though I just emailed Alex at barefaced last night, enquiring about the Big Baby, and it might be the best all-rounder, as it has (at least from quoted specs) very good ultra-low response, down to 30hz. It's apparently deeper-sounding than the Compact - my original interest - and has the hi-mid 6" driver to extend up to 10khz...bit pricey though, considering that the Epi is £399 versus £575. I suspect that the Epi might be easier to shift if I don't like it, though Alex is generous with trial period. Decisions, decisions...

[quote name='lozbass' post='785514' date='Mar 25 2010, 10:02 AM']Hi Gerry, Weird that I saw this today after such a thread hiatus. No misgivings at all on the ul112 - it's still serving admirably (as did the ul112 combo I had for a while). I've used the cab at much greater volume in the past months and with 5 and 6 string basses. The low B and high C didn't trouble the cab at all - same full, very even, accurate response. I didn't push the cab very hard with a low B - I'd be a little concerned that it wouldn't be happy - no problem at moderate volumes however. We're now on the Series II ul cabs - I honestly haven't had a chance to compare. Given what you're using at the moment, I'm not sure you'd have a significant improvement with an Epi - that said, I've not made a direct comparison. Cheers, L[/quote] Loz, Thanks, I really thought I'd missed the boat on this thread! I'm now very tempted to just bite the bullet and order one of these shipped to IRL from The Gallery - after the Euro recovers!!! I have a rather fatalistic approach to how I treat cabs: I will readily 'test' a cab's limits re low notes at volume, and replace drivers - or the cab - if necessary, as I feel that if I'm not driving the cab to produce the output I want, then I may as well not use it! A bit drastic i know. Even if it turns out not to quite suit my sound tastes, there are relatively few of them about, so it would prob sell on quickly enough... Should also have pointed that I actually only use either the EBS combo, or EBS Neo with Eden top: I don't use other cabs because of weight/size, given that I'm often carrying an upright of some type plus elec bass. I'm looking for a 2nd cab to complement the Neo,, or also replace as better single option. Cheers, and thanks for your response, Gerry.

Hi, Loz I know this is old post, but probably useful for that: I'm wondering how you rate the UL 112 now, having had it a while, any misgivings? I'm thinking of one, or else bergantino 112 or possibly barefeced compact. I play 4 & 5 string elec as well as elec and acoustic upright. I already have EBS neo112 (with replaced normal driver, much fuller sound), EBS 210 and Demeter 3x10 cabs, Peavey and Eden WT800 tops. Cheers, GerryK.

Totally agree with all that's been said so far. If purely practicing sight reading, some of the best pro's on the World session scene who teach/lecture/do seminars etc recommend reading anything and everything just once, at a pace you can reasonably handle, then discard it, so you don't 'learn the part'. Literally anything: they suggest if you know someone in a big band or orchestra, if they can get their hands on parts after shows/concerts that are being binned (you wouldn't believe the stuff they throw out, there's simply too much to archive it all) for any instrument, just put it in front of you and read it in your own clef. The idea is training yourself to recognise the note on the page regardless of how unintuitive it is. Orchestral and big band stuff is great because they use lots of key signatures us guitar-oriented guys don't tend to come across. Of course you don't have to discard stuff, just put in in the done pile, and you won't remember it if you pull it out at random in future. I would suggest knowing your scales very well in all keys through two octaves, not just by shape, but saying the notes in your head as you play them, if you're not already up to speed on this, as this is fundamental to developing a natural ability to sight read in keys with lots of accidentals - I'm currently doing a theatre show with several key changes on a single page, in 5 and 6 sharps/flats, and it's catching me out a bit from lack of familiarity with those keys. Gerry Bergonzi has a great book written for B flat instruments, but also available in concert in bass clef, that's well worth a look, I'm sure this is it: [url="http://www.bassplace.com/JA055.html"]http://www.bassplace.com/JA055.html[/url] Also good is to buy some Real books in bass clef, and read the melodies; this is a great double benefit, as you're examining the song from a melodic rather than harmonic perspective. That, coupled with the chords written in for good measure, gives a much broader understanding of what the bass does and why. I work with some excellent readers, and the most important thing they stress is some reading every day. Regular practice is the most important thing. One of these guys went on tour with Riverdance some years ago, and stayed on tour with the same show for several years. Some of the time signatures in that music are bizarre, with very fast moving passages, so very demanding reading...until you're doing it every day, and you get to know the parts and don't have to look at the sheet. When he came off tour his reading, according to him, was gone to pot, and he reckons it still hasn't fully recovered to it's best, 10 years later! Now after all that talk, I'd best do a bit myself, before I'm shown up! Hope it helps, have fun. Cheers, GerryK.

I'm currently awaiting delivery of some IT kit from there, from a totally legit company based there, that sells worldwide...they have to sneak their shipments out; currently, my stuff is "awaiting an opportunity" sitting in some apartment in Moscow!!! Don't go there. Depending on location of receiver, possibly offer to ship to EU border state AFTER payment cleared - money just as slow to move, and they worry about getting it rest of way?

Hi aaron From all the basses I've used, the Bartolini-equipped Lakland prob has biggest bottom end - I've often been asked to roll it off a bit in recording situations, and it wasn't even full on. I can't comment on Laklands with their own range of pickups. Also, Marcus miller jazz with decent preamp (IMHO the stock one is awfull, I fitted a Damien Hickey preamp, @ €100, great natural sound), eg Aguilar etc, really has monster bottom end, though you don't really like Fenders... I have only played them in shops, but their really nice, and very well thought of on this forum, the G & L basses are worth checking out. The MM 5s are really great if you can get a nice one - quality control seems to be hit and miss with them - I never had one without some flaw in the sound somewhere, whether it was an isolated but irritating dead spot or a wooly B string... The Jazz might not be as versatile as the others, but it does the Jazz thing really brilliantly of course. Try well before buying anything!