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I had one of those. Great sounding rig. Of course the distortion was of no use at all, except for having fun. Great for bass guitar. Then I switched to double bass. Not a good combination with the cabinet. Sounded awful.

Maybe not easier to read, but when it is a swing feel for the 8th notes, there's a difference between dotted quarter notes and a duplet.

I've been using a 102 Traveler for a couple of years now, with a Little Mark 250. Works fine for me, with a mic (through a Art tube pre amp) as well as a Realist.

Thanks for the info, Ric.

I think I've read something somewhere, a long time ago, about piezo pickups deteriorate when they get older. I recently started using my realist again after years of playing without amp, or using a mic. I have one bass with a realist that's about 10 years old, and another that was fitted with...

I remixed an 8 track recording I did of my quartet, from march 2011. It's on my soundcloud page: https://soundcloud.com/bart-tarenskeen/undisturbia . Hope you like it.

He made one cd as a leader, http://benwilliamsmusic.net/ .

A bit of shameless self promotion: my new cd, entitled "The Outer Rim" is out now. 10 original compositions played by Marcus Strickland (tenor and soprano saxophones), EJ Strickland (on drums) and myself on bass. Snippets can be found here...

Has Carlos Henriquez been mentioned yet?

Paul Sikivie.

Done.

First time I put an adjustable bridge on my (first ever) bass I didn't like it at all, lost a lot of sound. I think it had steel rods inside. Took it off and put back the non-adjustable after a couple of days. I put up with changing action due to weather for many years after that. Now I have two...

Why do need a higher volume? (This as a question, not criticism.) Of course you are responsible for your own sound, and have to make sure you can be heard. But if that means compromising your sound it also becomes the responsibility of the people you play with. If they want to play with a double...

loosen the strings a little bit, leave the soundpost as it is. and pray...

I stand corrected and apologize.

-1. I have Helicore Hybrids, medium tension on my bass and they don't sound dead at all. Enough sustain, nice growl and enough power. I'd say experiment with string height, which is easy when you have an adjustable bridge. If you're not sure about your right hand technique, ask someone that...

What makes you think he's talking about an amplified sound?

Hey yourself. We're not arguing, we're agreeing. Read our posts, we're answering the question when and when not to play the root on the 1. And why.

Reading all of this makes me convinced we do think alike. Maybe the way I express myself isn't always clear enough, english is not my first language. You're right of course, I did quote you out of context. But it felt like you did the same to me. Now I just think you misunderstood me...

I don't think my statements are contrary to yours. My first reaction in this thread was to the statement that the root on the 1 always works. I disagreed, and argued that it depended on the line that was being played. I've seen you stating the same thing. In all my other posts I tried to be...

Hm.

I'm not trying to pick fights either. I'm not trying to convince I'm right and someone else is wrong either. I'm just calling it as I see it, after thinking about it for 20+ years. There are many more wrong ways to play changes than there are right ways. This has a lot to do with rules that come...

That's my point.

No I don't preplan. I don't think arpeggios. You asked for an example. That's all it is. I prepare. That's something different. If you want to play a certain type of music make sure you know the rules. See where you can stretch them. For me that's your "yes and". There are a million ways to...

I thought I did. On G7: G-B-D-F, on C: C-E etc. For me that's ugly. On C: E-C or even better E-G-C is a better melody. G-E-C works too. F#-G-E-C also, but is more advanced.

All the things you are, last chord before the last A part is C7+5.

I respectfully disagree. Depends on where your melody is going. A good (bad) example is what I hear a lot of bassists play on a V-I progression. Let's say G7-C, they play a melody that ends on F in G7, and play a C as the next note on the first beat of C. For me that's like a cardinal sin. (And...

True. I used to practice walking lines trying to avoid roots as long as possible, just to be more comfortable playing unusual things. Ended up doing that too much on the bandstand sometimes. Whatever you play, root or not, has to work with the rest of the music. If you can make playing a whole...

Best way to memorize tunes is to not read. Play along with records, don't read. Practice tunes at home, don't read. Practice with bands, don't read. Sit in at jam sessions, don't read. Force yourself to use your ears.

4-1-0 is considered "bad technique". 2-1-0 and 4-2-0 are both good. Which one is best depends on what else you're playing. In the key of C 4-2-0 would be the more obvious, because of the (note) f in the scale. In the key of G 2-1-0 is more obvious, because of the f#. When vamping, if alternating...

Wise words, delivered in a civilized way. Made me remember I sometimes forget my manners. About your question if we have the ability to choose (to play free, outside, etc) I would say the answer is yes. I remember Jacky Terrason saying at a masterclass he was giving at the local conservatory...

I respectfully disagree. Walking bass lines are melodies. Melodies consist of repeated notes, arpeggios and scales. If you play only arpeggios your lines become static. If you play only scales you might not provide enough "bottom". Find the right balance and your lines will underline the harmony...

It also depends on who you want to sell the bas to. Shops will pay less for an instrument that might sound awesome but has a low retail value because of make, shape etc. If you sell to a bass player you're likely to get more if the bass sounds good but isn't a good business deal for shops.

You're right about the vibes. Although it's possible to hear what he plays as something that fits the (non shifted) changes, the way he plays them does suggest that he is two beats off the mark. The bass line however is not in the right place all the way through. Look at the evidence. You're not...

Either that or there's no such thing as playing inside, because we take liberties and change harmonies whenever we can.

True, but I guess he was talking about single notes in relation to chords. But the thing we're talking about is a melodic bass line based on a harmonic progression. Stil, great to hear from a former student of Jimmy Garrison.

Let us know what he thinks please.

I don't remember saying anything of the kind. I do know that when I get lost like that, I assume it's not me who messed up. But when I hear everyone else in a different place and not adjusting, which can take a while, I do the sensible thing and make the musical choice to go with them. I imagine...

No it wouldn't. This bass line is as clearly defined as anything chordal would be. Denying that would be denying JG can play traditional changes.

When I wrote "you keep insisting" it was meant as "one would keep insisting", sorry if I wasn't clear in my post. I wasn't accusing you. I agree with what you wrote in your post. My point was, if we all agree that even the greatest musicians can make a musical faux pas, as you eloquently...