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My new rig

It is subjective in some ways but much more objective than we may realise in others. First (only?) question; are you good enough to do what is required of you? If you needed to slap and you can't, you don't get the gig. If you need to read and you can't, you don't get the gig. If you are needed to jump around and strike a pose and you stand there like John Entwhistle on Mogadon, you don't get the gig. If you can play all the Bach Cello Suites in all the keys but are not able to improvise, you don't get the Jazz gig. If you play Bach Cello Suites over everything and it's a Country gig, you don't get the gig. In my experience, praise and criticism come from many quarters and some is utterly unreliable. I have been called both solid and fluid in the media. Is this because the person writing the review only heard one song, one recording, one gig or is this because the writer lacks the language or insight necessary to properly described what it is that defines your playing? Evaluating your own playing is a continuous process that is determined in no small part by the experiences you have as a player. If you never move out of your comfort zone, you will never find yourself challenged and will have a distorted view of your own competence. If you have never heard great players (which is often the case in young players), you may have a distorted view of your own capabilities (which is often the case in young players). Until you have played with great players, you cannot properly evaluate your playing. Outside of London, being asked to do a gig is as much to do with how bad everyone else is as it is a measure of how good you are. It can also be about availability. Great players are busy players and can be unavailable. I KNOW I often get gigs because the 19 other guys the bandleader generally uses are busy. Put it this way, how would Geddy Lee fare in Level 42? (Have you heard Neil Peart with a big band? Ouch!!!). How would Mark King cope with a Motorhead set? How would Percy Jones do in the pit orchestra of Jesus Christ Superstar? Horses for courses but does failure indicate incompetence? Yes or no? I play a weekly gig with some of the UK's greatest players and I am reminded weekly of my shortcomings (one of which is I don't really know tunes, a source of shame in the Jazz community) but, at the same time, I find out things about myself and my playing that give me considerable hope e.g. my knowledge and competence in Latin grooves is much greater that one of the best piano players I use. Also, my reading is better than his. Curiously, I have also noticed that I am a 'better' player when I have rehearsed/practised the material. In short, we all have strengths in our playing and we all have weaknesses. We can play to those strengths of have our weaknesses revealed at the moment we least expect it. The joy of achieving competence in our chosen instrument is in the journey not in the destination.

We did a gig at the Catapult Club in New Cross. The bill was set up like Later, so the headliners went on first and did half a set etc, then finished the evening. It was well rough for 3 lads from the sticks but we had everyone dancing. My more current function band have just done the Courtyard in Hereford- went pretty well.

This one goes out to Blue(wine). Prior to this moment, the greatest event that previously occurred in Pismo Beach was getting a mention in a Bugs Bunny cartoon ("I knew I shoulda toined left at Albuquerque ...").

HPF is 45hz: http://www.tech21nyc.com/support/manuals/effects/Qstrip_OM.pdf

He's just put in a bit of paper that says 'Morning Cloud in the 2:15 at Kempton Park'

I'd love to do that (once at least). The opportunity hasn't come up yet, but I'm only 59. ☺

PM sent.

one of the reason why I “upgraded” to a JR sized from a Metro24 SC; so I can use the Mono case that is currently on sale from its UK distributor. Having said that, here is my board in progress, found a used Temple Duo 17. Not yet wired as my Guma Drive is not yet assembled. :-)

Yes to the lighter relic, but you can't have matching headstock on a P. You'll go straight to hell.

StingrayPete don't dress up as no Fedex guy

Damo, it's rarely worth it nowadays mate.

Here's another heads up. You respond to the ad because the musianship in their clips seemed very high. I responded to an ad based on what appeared to be a " smokin" guitarist. Then found out he was no longer in the band.. Blue

Yep, saves time, just hit the 'next' button!

Yeah, I've responded to 'bassist wanted' ads, asked who's on drums and they've asked me if I know anyone...the conversation usually ends there.

A whole £90??? I bet the Cheshire Cat looks grumpy compared to you... Good work sir...

What he said. Parametric eq is a nightmare for the knob twiddler but if you know what you’re doing then it’s can provide a quick and easy fix and sort out a dodgy bit of feedback or rumble. It’s like tuning in a radio then cutting or boosting to fix the issue.

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Lateral thinking... Any mileage in persuading the Other Half that basements make ideal office spaces; that they are the 'new black'..? Make it cosy enough down there to have SHMBO want to relinquish 'her' space in favour of your basses..? Just a thought.

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See, my point exactly!

That sums up Jazz basses for me too - I love the sound that others can get from them, whereas for reasons of decency I shouldn`t be allowed anywhere near one.

54 is late summer?? No wonder I'm feeling the chill.

I always thought that Wal could make a fortune by giving up making the basses and just selling the pickups and electronics. I'd certainly put them on all my other basses

Will do, once I can put it down. There is also nothing I have played like the way the Wal pickups seem to compress and even out the sound from string to string, then there is always that unmistakable growl!

I`ve found that basses played through Markbass gear without the rest of the band sounds a bit bland, however it`s when the rest of the band is going that they come into force, fitting really well in the mix. That said, Markbass cabs do have a high-end roll-off so it maybe that that`s what you`re finding missing, the high end definition that Jazz basses are known for? I found this out when using the same amp eq settings through a Trace Elliot cab and the suddenly there ice-pick highs that emerged. For what it`s worth I`ve found that the Markbass/Barefaced sounds great, heard a good few Basschatters with these rigs and the true(truer?) Markbass sound comes out.

Never liked any singlecut basses, MusicMan toilet seat basses or those ridiculous 7+ string monstrosities anyone makes....

I bought a lovely Fender Jazz from Nick. Great comms, easy deal, friendly, well packed and quickly delivered . Highly recommended

Cool! When you've finished weeping with joy, do remember to add loads of pics to your NBD thread!

when I sold my last Wal the other year I was fine with it right up until the buyer came round and plugged it into my amp to check that it was all in working order...and that sound came out...too late to change my mind, but did make me think that I should start planing to get "my" Wal

I remember bits of different gigs that, if they had all happened on the same night, would be a truly memorable gig. With The Wirebirds, we had an unexpectedly good gig at a bike rally in April last year. We'd already played two sets in a social club, then driven an hour to a remote field only to be told we would be on late as they were behind schedule. Managed to sleep in the car for an hour or two (missed the burlesque though) and went on after midnight. Proper stage, PA and lights run by people who knew what they were doing, and despite, or maybe because, us all being knackered, we played a good set, everyone dancing (including the girls from the burlesque show), that was a night to remember.

Yep, I actually prefer it to Headhunters and for my money def one of the top 5 jazz funk albums I've heard and that's many. On the subject of jazz funk one of the best combos from the 70s here with this mighty, monolithic slab of bonecrunching funk

A small cellar bar in Midsomer Norton which years later I would go on to own. What made the gig special? We played a set of all original material we'd written together as a band, the place was rammed and people were standing on the tables around the edges of the room the whole crowd singing my own lyrics back at us so loud they were competing with the band. It was spine tingling.

In my case that was about....10 seconds 😀

I just got my Wal and I will say the necks feel a bit more V-shapped than the rounded P's and Jazz's and Warwicks etc that I have been used to playing. I think I will learn to love it

I like the amp a lot, so I decided to have TubeTown in Germany build me a head case for it. Sure looks the part!:

My advice is to look into this carefully as well as listening to the experts here before buying what a manufacturer recommends. The cynic in me tends to think that Markbass, and other makers, know perfectly well about the perils of mixing speaker sizes. (I've owned a pair of Markbass 2x10s and a Markbass 1x15 and the 2x10 is deeper and tighter sounding if that helps.) Frank.

And we have a winner!!!

Dehumanizer is also absolute quality, criminally overlooked

Here's an LPB P (not mine, I have to say. I wish it was!)

+1 The B3n is a LOT of kit for the money. I sense the price of the Amplug I have for sale falling by the hour! Faster even than the career prospects of the KPMG partner who signed off the Carillion accounts...time to take it off the FS section with its £25 price tag (they're about £38 new incl. delivery) and put it on eBay with a £0.95 starting price, or a bit more if I'm feeling brave

whoever happens to be playing bass in the Gang of Four usually does it for me. Got all their stuff from an assortment of bass players and it's all excellent

Keep your 'intelligent and reliable guitarist'. As rare as the proverbial Hen's teeth.

Oh no, absolutely, Jah Wobble and JJ Burnel are, between them, the reason I picked a bass up, Metal Box and early Stranglers albums were likewise massively bass formative for me, but Jah Wobble is the pinnacle for me. I am beginning to realise that the reason I left the gig vaguely dissatisfied is because regardless of how much I try to appreciate the man and his current music I can’t help but want something of the past that’s now unobtainable. I suppose instead of trying to recapture something historical by attending such gigs I should maybe make something current that gives me the same or similar vibe.

Yes, they were written months ago. The dog ate them. They don't exist. They've been heavily edited. We've decided to suspend democracy. Please call me Adolf. I'd have 'em all hanged and pull the lever myself. D. Davis is a tosser. My bum hurts. (Delete as applicable).

[quote name='CamdenRob' timestamp='1462437613' post='3042951'] Be interested to hear back once you've used it with drums... [/quote] You may have to wait a while... my current band uses a kick drum and percussion, but not a full kit, so no shed-building rock-type shenanigans. Which is one of the great advantages of the band in my humble opinion (!) and is the main reason we can generally get a very clear sound in any room... But this guy has used it with drums... [quote name='Marty Forrer' timestamp='1462405693' post='3042852'] I have a GK MB800 head and two of these One10 cabs. They are ridiculous! I play upright bass, and one cab is more than sufficient even with a drummer. I have played an outdoor gig to 1500 - 2000 people, no sweat. There is so much bottom end I run my bass knob at 9 or 10 o'clock. I find no need for a tilt-back. Even if I'm standing over the cab, it disperses so well that I can hear myself easily. I purchased the second cab more for pushing air to get a huge room-filling sound, rather than needing it for volume. The only cab I have ever played through that matches the Barefaced for upright bass is a Greenboy 12/6 which weighed 17kg, but at 7 kg each, my damaged back is loving the One10s. [/quote]