Recent content by Johnboch

Yup. I bought a Wyn two years ago, which was taking a chance because I'd never actually played one, but it is a high-quality build, and it achieves my tone perfectly. It doesn't have the thickness at low action that Fodera does, but my touch is far too heavy for low action, anyway. It suits...

This is simply my favorite bass. The sound is just about perfect. He gets a thicker tone than anyone out there, if you ask me, and bassists need this kind of bottom. It is very heavy, but the construction and craftsmanship are so beautiful and unique that I feel it justifies the heavier...

Use a tuner and harmonics; those worked for me, and as long as you're getting a good sound, who cares if you use markers or not?

Idk, man, but I've played some Christophers and some of the "new" Shens, and they're really impressive. +1 for Chinese basses. What's the point in shelling out anywhere from 1,000-15,000 more for something that comes from Europe when these basses are just as good if not better.

Beware companies who make too many basses

My top three would be would be wyn (not listed), modulus, and then sadowsky. Personally, I'd buy the wyn and the sadowsky before the modulus.

You may be part of the Warwick family, but my 2006 double buck is falling apart, and they haven't even answered any of my emails. Coincidentally, I bought a fender to get me by until Randy Fullmer (Invalid Link Removed) finishes my 6 string. Unless you are a high profile artist, Steve, you're...

I'll try that. That definitely seems like a good way to develop better time feel.

So lately I've been having trouble keeping time. With walking basslines, there's little issue, and when playing heads to tunes I stay in the pocket. My issue lately has been with locking in grooves and fills (especially in odd meters, but sometimes with complicated funk lines) and playing 2...

So lately I've been having trouble keeping time. With walking basslines, there's little issue, and when playing heads to tunes I stay in the pocket. My issue lately has been with locking in grooves and fills (especially in odd meters, but sometimes with complicated funk lines) and playing 2...

That's very true, especially in vocal jazz. I've talked to people who don't like being in a rhythm section there, though. If you want to be someone who's killin', I see the most talent in Ann Arbor and East Lansing. I've always heard that if U of M's studios were all as good as the piano and...

^^^ummmm....i don't know how true that is. now, let's get serious. I'm in the jazz program at michigan. I tried out on electric bass, I still play mostly electric bass, and I think they're looking to add more of us who can specialize on the instrument. I take lessons with Bob Hurst, and even...

I saw tain, bob, and geri allen rehearse at his house yesterday. It was nothing less than life-changing.

try not playing the roots all the time. substitutions will come naturally after that. Also, work with suspensions and dissonances (like 4ths resolving to thirds).

I'm trying to find some recordings of Tony Russell, Ethan Farmer, Dammo Farmer, Maurice Fitzgerald, etc., and I'm not sure where to look because I only recently got into gospel. Also, if anyone would know how to contact them for a lesson that would be great (I live right outside Chicago).