Mrbigstuff

[quote name='bluejay' timestamp='1361579514' post='1988029'] From what I understand there won't be any tickets. Last year, visitors were supposed to collect free tickets from certain stands, but this was scrapped at the last moment, and we were simply told to queue at the door of the auditorium or place where the masterclass or gig was happening. This is very likely to be this year's setup as well. [/quote] This was on Facebook just yesterday, "[color=#333333]Can I just throw this out there.. If you wanna go into the main stage to see the live performances you will need a ticket. NOT the ticket you used to get into the show, a different ticket, but don't worry, they're free. It's just that we can't let everyone in the auditorium so have it ticketed. Get them from the main Bass Guitar magazine stand near the entrance. This also means exhibitors too! Sorry to be a ball-buster but you have no idea how many people we can't let into the performances every year cos of this so at least if you all know and can pass the message on! thanks! See you next weeeekeeend!"[/color]

I have the p bass set. Transformed a pretty plain sounding p bass into the most incredible tone machine you will ever hear. Not a great deal of tonal options (especially with flatwounds on) but it is THE tone to end all tones. I have pondered the J set many times but the Tokai's pu's are quite hot anyway.

[quote name='risingson' timestamp='1361121536' post='1981365'] Bass players made similar claims in the 80's too about synth replacing them, yet here we all are! [/quote] I reckon there was a lot more work for bass players in the 80's than there is now!

[quote name='lojo' timestamp='1360996231' post='1979524'] I think guitar, bass and drum based pop/rock will have to seriously decline in popularity before that happens. [/quote] This has happened in pop music, especially R&B. Musicians are either rapidly being replaced by DJ's or playing synth keyboards and triggers.

[quote name='hamfist' timestamp='1361014494' post='1979740'] OK, I think we've established now that the 5's are more neckdivey than 4's. That is no surprise to me as the 5's neck is so much visibly bigger than the 4's And NT's "may" possibly be rather more prone to it than BO's. I guess down to weight distribution differences around the neck joint. Although my instant gut reaction is that the structure of the neck joint really couldn't make all that much difference to the balance. Though I could be wrong. I'm wondering whether the player's body shape (ie. maybe spread in the mid regions) accentuates any neck dive. I've just had another comparison on my basses, and my thumb BO4 simply does not want to neck dive. It wants to balance and sit (on me) at a nice approx 30 degree angle, neck tilted up. No different to my P-shaped bass. And, yes, going from one to the other, it is a longer stretch to the 1st fret on the thumb than my P, but not uncomfortably so, for me at 5'10" with my slim frame and (I think) average length arms. It would be interesting to know whether those who struggle with reach and/or balance with their thumbs are of a "larger" build. The scientist within me wants to know. [/quote] Nope, sounds like I'm a similar build. I'm now very tempted to try a bolt on 5 though to see if theres any difference

Not sure its been mentioned yet or not but for anyone who hasn't been before and looked at the map on the website for directions, it is not at earls court as the map suggests. Type in Olympia Kensington on google to find it. I'm there for the whole weekend, whoopee!

playing with; a new scale length, new string gauge, an extra string, extra frets shouldn't be difficult. As long as you practice the right things on it (Ie scales/ patterns across 5 strings ect.), and put time into it, then you'll soon get used to it. Apart from learning to string mute correctly which is essential on a 5. That could take a few weeks to get used to if you don't already. Those Roscoes are beautiful by the way! I absolutely love the tone.

[quote name='hamfist' timestamp='1360866893' post='1977685'] 5'10" and 11st for me, so pretty much UK standard I'd guess. I do have big hands but that's just about it. [/quote] might just be the NT's then because my old 2000 model had huge neck dive and it was a real effort to play a low F

you guys must be huge!

Ibanez (anything except GWB), Rickenbackers, newish music man stingrays (they just seem to lack definition compared to a jazz or a p), and the worst bass I have ever played...... Epiphone Thunderbird

Just to get this thread back onto the book. I've had it near enough a year now and it's been the most useful source of information I've ever had. It completely simplifies how to think when approaching improvising on the bass (not just jazz or walking, as the idea is transferable to everything). The method that joe uses I also use for analysing transcriptions. This has made them easier to understand and manipulate into my own playing. It's maybe also worth noting that to get the most out of this book you need use your imagination a bit and create lots of variables out of the information given and make sure you transcribe to see how others have used the same ideas. Anyone with the book that doesn't understand what I mean send me a PM and I'll explain, I'm being vague as I don't want to give any of joes methods away when they're not mine to give.

wow, If I had the money I would go for the gold p/g combo. Looks lush! Haven't tried these basses, what are the pickups like?

ask a mod?

Not every bass player uses the gear they do because they like it. There's many other factors such as; how good is the endorsement deal, how much does it cost, what does it look like, what is the studio/ festival/ venue using, does the artist have an endorsement, how accessible is the gear around the world at short notice? Judging gear by what other people use is nearly pointless.

Most people in London seem to be using Aguilar and Markbass. Markbass is by far my favourite sound. As for getting gigs miming, they are selected in the same way as musicians are for live shows. A fixer is paid to find musicians, he/ she will know people from their network that will fit the bill. Most of the guys that mime are very skilled at playing bass/ other instruments.

In terms of being useful for transcribing, learning what the different scales sound like really helped me. Check out Janek Gwizdala's new video's on it, there is some great info there.

[quote name='Doddy' timestamp='1356273832' post='1908613'] On the first part,on the cruises that I've done,the repertoir is much wider than that. The Orchestra will be playing mainly whatever the shows require (Standards,Motown,Pop..whatever) and whatever the guest acts bring on,which could be just about anything. The Party band will be playing anything.You might play a set of dances (waltz,quickstep etc) to old standards,or you might play a set of really modern stuff (Lady Gaga,Taylor Swift,Justin Timberlake etc) and anything in between. You need a big variety of material to choose from. The cliental differs depending on the cruise and the time of year so you need to cater for everyone-American passengers like different things to the Brits,so you need to be aware of that and play songs that you'd never dream of playing here. With regards to not needing chops,you probably won't be soloing much,but you need enough chops to be able to read and play what is required of you correctly,first time. I'm off to the Caribbean in February. [/quote] Hey Doddy, glad to hear it's not all the same. My post was from what I have been told in the past from players and an entertainment manager that I have met. From what I was told the orchestra is usually a different band to the party band but I guess you might sometimes will need to dep in.

[quote name='mattcbass' timestamp='1356110485' post='1907068'] Thanks guys for the replies. I'd love to play for the shows, my sight reading isn't amazing but I would embrace the challenge if I ever got the chance. We've almost learnt enough songs from each decade/genre to manage a full night's worth of each so that aspect shouldn't be an issue. The lead singer also plays clarinet so that could come in handy if we ever needed some jazz/easy listening instrumentals. Did you find that it was easy getting your first contract? We've applied to a few agents and some go cold after we say we haven't had any ship experience and a few just haven't got any work at the moment. [/quote][quote name='AndyBob09' timestamp='1356218907' post='1908195'] I'd love to jump on a ship in 2013. I need to shed hard at the start of 2013 and will apply in the summer to be a member of the show bands. The hardest part for me will be shedding hard to prep for an audition. [/quote] I've not done a cruise ship but I have done a lot of research on it and have been taught by quite a few ex-cruiseers(?). I have also recently been in contact with the head of entertainment of a few cruises (can't remember the companies name). Firstly you don't seem to need any "chops" to play cruises, its mostly reading or just playing old songs so shedding is not necessary. On that point apparently because of the ships cliental, I have been told most of the music is 30's and 40's swing, sometimes venturing into 60's and 70's. For auditions, it will be different for every MD/ company but, confidence, a smile and good execution seem's to be what the people I have spoken to look for. As for getting auditions; a C.V, link to videos, website, photo's ect. Pretty standard. I decided that it wasn't for me but lots of people enjoy it.

[quote name='JTUK' timestamp='1355949384' post='1904994'] Really...??? that is a pretty fundemental miss as he is a major component in that band [/quote] yep, seen the twice and happened both times. Although the first time was more mystifying as Koko had a great sound mix (apart from the bass) whereas Shepherds Bush was all terrible.

[quote name='Norris' timestamp='1355923444' post='1904518'] Sorry, we're already playing out at Fleckney or could have probably helped you out. [/quote] Your playing in Fleckney!? I would take any other gig you can get ;-)

Rocco Prestia cannot be heard live, although I've heard he's pretty deaf anyway

Be careful in your choice and don't forget a great player doesn't always make a great teacher. Could be worth seeing if Laurence Cottle has any slots? My favourite teacher is Joe Hubbard but he's in Kingston and Jake Newman's great as well but he's in Aldershot.

[quote name='Doddy' timestamp='1355081507' post='1893841'] I suppose if you are looking at everything as being in key,diatonically,then you could look at C as always being the tonic chord (which it would be),but if you're viewing them as scales then the note won't have a set name-it will depend on it's position in the scale...so it would be- I- Tonic II- Supertonic III- Mediant IV-Subdominant V- Dominant VI- Submediant VII -Subtonic [/quote] god its been a long time since I've seen those terms!