The Next Level Bassist - Practicing

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A 24 •Next Level assist NEW FEATURE Review assist ext evel N L The DPA d:vote 4099B microphone could pretty much be called my new best friend! Now that’s not to put down Nick and Zach, my brothers-in-arms in Time for Three, but that’s mainly because our whole group uses and loves microphones by DPA. I want to lay out some of the reasons why this mic is making a huge difference in my touring life. One of the bigger challenges of playing live in big rooms is getting something that resembles your unamplified sound. I’ve experimented with all sorts of pickups and more than a few mics before, but the d:vote 4099B by DPA is the first that really gave me an authentic bass sound. Considering my style, it’s incredible that I’m able to get the best arco and pizz sound from this one device out of anything I’ve ever used. I don’t just play on the strings, and I’m happy to say the mic captures the percussion of hitting, smacking, or slapping the bass just as well as traditional playing. From a traveling musician’s standpoint, the 4099B is really convenient too. I like the carrying case for its small size and very safe construction. It currently slots into a larger case with my other sound gear, but you can take it with the rest of your rig and not worry about losing your investment. It’s easy to plug in when you walk out on stage for the first time, even in high pressure situations. I have gotten great feedback from the sound guys and gals I work with too — it’s a user-friendly experience for all involved. This is so important! You have to make sure the people in charge of your sound have the control they need to be great artists too. If you are serious about your live sound, the d:vote 4099B by DPA is a must have. Investing in an easyto-use, incredible sounding, not to mention cool-looking microphone might be the best choice you make today (besides reading The Next Level Bassist!) -Ranaan Meyer The stage is set DPA 4099 for Bass and Cello Gain without pain The d:vote 4099 Clip Microphones cover the entire orchestra, providing highly directional, truly natural sound and high gain before feedback. www.dpamicrophones.com/dvote
contact need to move due to the change in register? Before moving to the goal pitch, visualize the goal form/position in AMDAP as well as the sound of the desired pitch (again, without moving.) Now assume the new position. All of this is done without actually making a sound. At this point, there should not be any “shifting” involved. The idea is to make your body aware of the starting and ending positions of a complex movement without complicating the issue by also trying to transition between them before their forms are clearly established. The next step would be to repeat this sequence and actually produce a sound, assuming the new form without shifting, and allowing as much time as necessary between notes to fully visualize the new position in AMDAP (this visualization includes pitch and form.) Notice any deviations or distortions that have occurred when moving from one position to the other – even if the notes sound in tune (remember: we broadened our definition of “in tune” earlier.) Consistent movement leads to consistent execution and confidence in performance. Final Thoughts Ultimately, this entire article is worthless. It is only information, but it is not knowledge. Knowledge is information synthesized, internalized, and owned by burning it in the fires of the crucible of hard work. All the practice techniques in the world are useless if only known yet inconsistently applied, and sometimes they need to be abandoned altogether in favor of banging your head repeatedly against an unmovable object until it moves or breaks (metaphorically, of course.) Hopefully you are inspired to be creative, be observant, be patient, and to GO PRACTICE!!! David Allen Moore is 4th chair double bass of the Los Angeles Philharmonic while also serving as a professor at the USC Thornton School of Music, the school from which he graduated in 1993. Moore was also a member of the Houston Symphony from 1993-1999. He regularly performs with San Diego’s Mainly Mozart Festival and the Los Angeles Philharmonic’s New Music Group. He has presented master classes at Curtis, Juilliard, Rice, and NEC. His former students are present in professional orchestras in the United States, Canada, Australia, and Europe. Moore is also a faculty member at Domaine Forget, the summer music festival in Québec, Canada. Next Level assist • 25
Page 1 and 2: The ext evel N L The Practice Issue
Page 3 and 4: Staff Publisher • Founder Ranaan
Page 5 and 6: great resource. Sometimes it’s ha
Page 7 and 8: know that I’m going to find the w
Page 9 and 10: To Practice or Not to Practice... B
Page 11 and 12: controlled sense of dynamics and ph
Page 13 and 14: you that you are doing something in
Page 15 and 16: Transition works on a range in the
Page 17 and 18: Next Level assist • 17
Page 19 and 20: S = Slap H = Hammer On P = Pull Off
Page 21 and 22: Practice is universally recognized
Page 23: Dynamic Forms Here is one particula

The Next Level Bassist - Practicing

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