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Next ?
Did you have any formal musical training or were you an ear player or both?
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Tim Bishop Last edited by Tim Bishop; 11-22-2008 at 12:24 PM. |
#2
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well..
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The first day the teacher (Mrs. Aline DaNino) showed us all the Violin, Viola, Cello and String Bass. We were showed how to Bow up and down each string and then tried out each instrument. At the end of the trials we were each asked which instrument would we like to play for the class which was I believe only once a week. Before I was asked, I had been thinking.. Violin and Viola, no way.. Cello? between my legs? yuck, thats for girls to play (I thought..lol). When I was finally asked I looked up to the top of the risers in the back and pointed, the.. the.. that ah.. "String Bass?" she asked.. Ah yeah.. I replied.. lol So, after a few classes I asked to join the String ensemble because I liked it and I saved face, playing the only 'Manly' instrument amongst the 4 choices.. lol .. For real.. That was my thinking.. So, I played there two years plus some Summer programs and then went to NY and auditioned as an incoming Freshman for the ' High School of Music & Art' and was accepted. From there I became a professional Bassist and so on. I was mostly (99%) a reader. The 'ear' thing came later. Using records, playing them over and over I would learn Bass parts and even write them out. I preferred transcribing and reading over listening and memorizing. It was just what I was comfortable with. Probably due to learning 100% from reading with just about 'zero' ear playing in the first few years. |
#3
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So...
So, once you begain playing professionally, what would you consider your stand-out highlights from the beginning of our professional career until now?
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Tim Bishop |
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Stand outs?
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I was a fairly good reader and a doubler as well playing both Electric Bass and Double Bass. I was also a good bower. Funny saying 'was' because just two weeks ago I did a big band job and sight read charts on both basses as well. last week I did a Symphony gig (3 rehearsals and a Concert). The chops and 'eyes' are still ticking! I would have to say that there was more work available on the BG than the DB but so many jobs needed both. At about 19/20 years old or so I got called to work for Johnny Mathis. The call was for both basses. We worked a few weeks at the Waldorf Astoria in NY, 7 days a week. The traveling rhythm section worked 7 days as well but the other contracted musicians could only work 6 days by Union law with Subs or alternates for the full 7 day work week. I was paid not for one double (an extra instrument aka Clarinet & Flute) but got the maximum of 4 doubles (each double is a small percentage extra over regular scale) plus a personal check of $75 from Mathis to make up for the 7th day in which I wasn't allowed to be working. Because he didn't have a bass player traveling with him they had to bend the rules a bit. The house contractor at the Waldorf worked it all out and said I was not to tell the Union about this which of course I didn't. During that engagement we did a HUGE concert at the 'Garden (MSG). There were seats up to the stage. Maybe 20-30,000 people at this venue. It was called 'Festival of the Stars'. It was the top 4 Columbia Records Pop artists. Johnny Mathis, Peter Nero, Vicki Carr and Percy Faith Strings. One HUGE Orchestra with 3 or 4 rhythm sections changing for each artist. I did just Mathis. Alvin Bream was the DB'ist for the String section. I just saw him behind me and never talked to him. About 2 years ago at my old NY Phil's Teacher's Birthday party/recital at Lincoln Center, I finally met and spoke with Alvin Bream. Besides Mathis, I worked in (mostly subbing) about 18-20 B'way shows, other singers like Frank Sinatra Jr., Jimmy Roselli, Linda Hopkins, Kelly Garrett, Mercedes Hall (mother of Michael Anthony Hall, he was a cute kid back then.. lol), Shirley Bassey (Goldfinger!!) and many others. Some of this was in NYC, Concerts and some at Westbury Music fair. I did lots of Jingles (over 2,000 separate spots), a few Movie soundtrack dates, on screen in 2 movies and a few records of which most were for MMO (Music Minus One). I also worked in the Orchestra at Radio City Music Hall first as a sub in the mid '70s. Years later they switched the venue (from 4 shows a day with the Rockets and a movie) to an 8-show a week B'way schedule. I did that too on and off. Not the best gig but it was a gig. I did Ginger Rogers last show there as well as the Christmas Show once or twice. I recall doing the Nutcracker there as well. Late night Club gigs and private teaching also kept me busy. |
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So....
Very impressive, Ken.
So, with the end of the 70's approaching, what was the influence or intrigue that led you to building EB's?
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Tim Bishop |
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Did you have any role in the development of the 6 string bass? I know yours was one of the firsts.
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Did I?
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We made our first 6 for Anthony Jackson on 1981. There was very little if anything to go on as far as what to do or what to design. The only other one I had seen was the previous attempt for Anthony by Carl Thompson. I asked Anthony to show it to me so I could see what was wrong with the one he had. That look was mainly a 'what not to do' lesson. I say this without any disrespect towards Carl as we were at one time good friends. Who did what first and where? Your guess is as good as mine. I am sure who invented electricity or anything else can always be disputed in some way. I am just saying that I had basically no examples at all to copy from. Just my playing skills and my instrument design ideas to make a working playable 6-string. Back there, there were no Parts companies to call up and order from. The Bridges and Pickups needed to be designed and made from scratch, custom ordered from people themselves that were not even sure what would work. It was an uphill struggle, but now.. we are here. I do feel in a way that modern builders walk on a road paved partially be me and others like me that wanted to make something that before hand didn't exist. Quote:
In 1973 I bought a fine old 18th century Italian Bass. It was the best Bass I had ever played. Imagine playing up the low E string. After a few notes it becomes uneven and wolfy sounding. This bass could be be bowed from the Nut to the end of the Fingerboard over two octaves up and not a single bad note. Also, it bowed great with Spirocores and that in itself is odd because those strings are not easy to bow. They are great jazz strings but most players then used Flexocor for bowing, not Spirocores. This Bass was a monster and I was curious to find out how much an Electric Bass could be improved from its standard cardboard box with strings in comparison. Most people in NY played a Fender. Most Fenders had dead spots on the G string around the Bb to the Eb. Usually one note was the worst and one or two on either side of it. It was on the 'D' on one of the Basses I had. When ever I needed to play a long help note, I would play 'that' D on the D-string octave to make it ring out somewhat. This being only of of many point in comparing a stock or customized Fender bass to the DB that I had. My goal was to make an Electric bass that could stand along side my DB and be equal within its own merits as far as sound quality went. It looked to me as if the Guitar industry was geared towards fast cheap 'accountant' planned costing within its manufacturing. I was thinking more along the lines of a hand made Violin. My idea and desire for an Electric Bass was not part of the current industry. Yes, there were custom and private builders out there BUT, had the played my Italian Bass or knew what a Violin was or how to incorporate there grandfather string instrument methods and results into their stringed amplified carcass? I wanted a Bass that had 'no' excuses attached to it in its making or performance. One night while playing the proto-type bass (made c.'76/77) in the Pit at 'Westbury Music Fair' for Shirley Bassey, the lead Trumpet player tells me my bass sounds great and that they listen to me for the 'pitch'. Years earlier, I worked with this same guy for a year in a B'way pit on my first B'way show gig and complaints were they daily dosage back then about the Bass being too loud usually, not compliments. You know, the Trumpets NEVER play on the beat..lol After hearing a Trumpet player tell me he used my Pitch to play, I knew I was on the right track design wise. Trust me, as I mentioned above, this IS the short version of the answer..lol How long will it take to post 40 years of 'Bass' experience? |
#8
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Can you expand on the concepts and techniques from the building of traditional acoustic string instruments that you incorporated in your bass designs, and what made you lean specifically in those directions?
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Proud original owner of a 2001 Ken Smith BSR4EG lined fretless. My band's site: Delusional Mind |
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