Leaderboard

"The bass guitarist: The whole room is filled with power. Your power, pure power. Without you, the core of the song is gone. They need you and you know it." Has anyone quoted this to successfully negotiate a bigger cut of the band fee? Will try tonight at the Dog & Duck and report back.

Best stand well back....

Would have thought so. You can buy 'Universal' patch lead kits which contains left hand and right hand patch cables.

I tend to make an impression on 'you're only the bass player' types. It's usually headstock-shaped and always an accident. Oops!

I'm in the house band for the two Sunday for Sammy shows next weekend. I can't give too much away 'cos the line-up is under wraps, but with 5,000 people at each show, it's going to be fun. I'll take some pics and that, and try not to make any mistakes. Disclaimer: I fully acknowledge this is a 'boast post'. Apologies.

Well lookie what landed today! So... this is a Limelight Precision, with a '67 spec in a light-relic LPB finish. I ordered it last year, and had a good chat with the - extremely pleasant - Mark at Limelight to discuss the spec and the level of relic'ing. I wanted the finish to be a little more muted, so it glows a bit more, and he's obliged. It's a nice weight, less than 9lbs, helped by the Gotoh Res-o-Lites, which bumped the cost up a little more. I've just put proper strings on it (it came with fairly light rounds), and it sounds just like I'd hoped. A really nice P... and it cost significantly less than a Fender Roadworn MIM. I'm about to start a solid week of rehearsals, so lots of time to give it a run out. Happy days!

Here are my two new working basses. I had kind of given up playing in bands after doing it for around 25 years and had sold all my working basses but then an opportunity came up to join my friends band. They are a very busy, popular club band playing stuff from the 50s and 60s so I was in need of a couple of working basses. I've gone from doing zero gigs to about 60 a year. The first is a Fender Jazz American Vintage 75 Reissue and the second is a Fender Precision FSR 70's Reissue. Both are amazing to play and I love how they look similar.

I played this bass at NAMM last week - you'll just have to trust me when I say that the pickups are absolutely glorious, and this is the best Ric bass I've ever played (and I've owned a few, and not liked them at all). As to the "cheap Chinese knock off" comment, bizarrely I spent part of my time at NAMM (an entire day, as it happens) with someone who used to design & import exactly those basses. I won't name names since I have no idea if he'd be happy for me to do so. We both agreed that the new genuine Ric looked more like a 'fake' than his did! Regardless of that, I found that the look of the new pickups grew on me really fast, and I loved the sound of the things.

There's a guy on TB does them if you have no joy.

Ha ha! The funny thing being that was a lucky accident! Er, I mean I carefully selected the two pieces and precisely aligned the grain.....

I thought this was Alex and a co worker applying the Tolex?

Just recorded a quick noodle...sounds a lot like a P Bass! And loving the neo pickup, it has a little growl when pushed! I like the Fender flats too, but I can't help but think I'd prefer La Bellas. Only one way to find out, I suppose... Listen loud with headphones, decent monitors, yadda yadda.

My QSC K10.2 should be here today.

I have also completed the final sanding of the body and have started apply the oil finish. Really pleased how this is looking - the ash takes the oil really nicely. I do like the grain on this wood and the way it almost matches where the two halves are joined down the middle of the body.

What about the balding bloke with a tache in Saxon playing open notes with one hand while punching the air with his fretting hand or errm non-fretting hand ? Marc S - dunno about you but I generally lost interest in The Stranglers once JJ switched over to a more conventional tone about 5 albums or so in when the band started getting older and softer Other albums for me where the bass tone makes them are New Gold Dream by Simple Minds, Sulk by The Associates, Lexicon of Love by ABC and No Parlez by Paul Young. Imagine Wherever I Lay My Hat played with the bass relegated to the background. It might've been long forgotten . Everyone remembers the bass rather than the vocal

I think it's all about context. I used to play in a functions band which could have anything up to 13 members with full brass section and backing singers. In that situation my bass tone was very straightforward and un-coloured. In that band there was a lot of emphasis on nobody overplaying unless they were soloing. Now I play in a 4 piece Rock band comprising Vocals, Guitar, Drums and Bass. In this context I need different tones to ensure that the bottom doesn't drop out of the sound when there is a guitar solo. I only had a tuner pedal in the functions band but I need a pedal board fully loaded for the rock band (and the ability to tap dance which is a challenge).

I'll join this wee club - here's my effort

Bass doesn't matter. It's just the fat guy standing in the back. Everyone knows it's all about the singer and guitar player.

One of my Subway cabs had an annoying rattle that seemed to defy any attempt at diagnosis. Eventually, Mesa accepted that the speaker was at fault and shipped over another one. I had bought the cab from the Gallery and it was agreed that the swap would take place on a Saturday. I duly drove up and the original speaker was removed (it was a seriously tight fit). Lo and behold the reason was immediately clear. The guy stapling in the insulation had evidently refilled his staple gun during the process and a block of 3 staples were attached to the magnet and vibrating on the cone! I chose to keep the original speaker and was allowed to keep the (unnecessary) spare. So, I have a brand new and boxed 15" speaker in case I ever need it. Brilliant customer service from the Gallery, the guy came in on the Saturday morning on the the day he was going on holiday and Mesa Boogie for sending over the speaker and letting me keep it. Not sure I'll ever need it but there you go ...........

I agree with you Merton,It's my favourite amp too.

They aren't the brash cabs type. They prefer to not parade with their tweeters out.

In my opinion, there is so much variety and so most simple points won't cover all the diverse views. At the risk of using buzzwords, there is a gestalt thing (ie total is greater than sum of the parts) going on with a band and all of the timbres, tones, mix and there will be those that work and feel right and some that feel very wrong and most will be in-between (the acceptable zone). As far as individual bass tone then, I agree that most of the time, most of the public won't notice or care if it is in the acceptable zone. But some songs, some genres, some players (I'm thinking of covers here) are so critical to the performance that the acceptable zone is smaller and harder to achieve. For example, Mick Karn's fretless tone on Japan or Chris Squire's on Yes. There is also the personal aspect, if we feel our tone is good or even great then we have more confidence, we are more relaxed and we play and perform better. But I hesitate to imply that just searching and buying the best bass, finest rig, pedals to find that tone will, without practice, skill, feel, emotional engagement, etc. mean that we play at the top. (Another buzzword alert) it is a synergy thing: in the words of Kraftwerk - The Man-Machine.

If your band doesn't care what you sound like then you're playing in the wrong band, with a bunch of talentless Mr and Mrs Silly Billy, who have their ears painted on. Tonight the band leader told me I sounded good and 5 people from the audience came up and complimented me. Being noticed and liked is one of the reasons I'm in a band and standing on a stage. Audiences don't have to know about me but my bands certainly do. If people ignore you maybe you don't sound good. Sound better and make them appreciate you.

There are a few universal truths to bass tone, most of them already covered: - Most audiences won't give a damn about your tone unless it sounds wrong in context of the music. Use a punk tone in a punk band and a Motown tone in a Motown band, as long as you're in the ballpark they'll be happy. - That last 10% of the tone quest, this amp/bass/pedal/string vs whatever, only the bassist will be able to hear or give a damn about. But if they are happy with everything they will play better as a result. - If you have too much gear to play with you waste too much time auditioning this sound vs that sound when you could have been spending that time learning how to be a better player. I for one need to drastically simplify my choices available to avoid falling into this trap so I can practice playing instead of tweaking tones!

I also find that when I’m loving my sound I tend to play better, or at least am less distracted so more inside the performance. More in the groove. That will contribute to a better performance by the band and to the punters having a better time on some subliminal level. So they may not know why but my tone benefits the punters when it’s good. Yes, it matters to me primarily and I may be the only one who identifies if it’s working or not. But, my sound and my performance is part of the sum of the parts...

Slut red in fishnets

IMO it's a bit like customer service - if you get good customer service, nobody says anything, when it's rubbish everybody's up in arms. If nobody says anything about your tone, you're probably doing something right. Personally if I don't like the bass tone, I don't like the song.

If you are playing Level 42 covers it’s probably time to shut a piano lid on your fingers.

Too many of us are obsessive about gear and looking for that elusive tone/sound. If the money spent on gear were directed towards decent lessons then that tone/sound may be more easily achieved.

One of those "slowing down" programs for the computer is a good investment. You can isolate the hard bits and play them at reduced speed.

I got mine from Rothko & Frost - https://www.rothkoandfrost.com/ The decals are pretty delicate to apply ,and I managed to make a bit of a mess of the serial number, but I do like them - good luck . Rothko & Frost were very helpful in providing advice - I also got the neck tint sprays from them & they helped me out ( again) when I made a bit of an derrière at my first attempt at spraying - I went a bit heavy handed & had to do a bit of a rub down. Cheers

If I'd seen somebody in leather trousers trying to sell me a guitar with a pointy head I'd have taken up something else......

Nice one Michael, hope it's a good one!

As a music listener tone is #1 for me whatever the instrument. I got into bass after hearing JJ Burnel on Rattus Norvegicus . It wasn't the notes he played but the tone that grabbed me. On the other hand I hate Steve Harris' tone, one of several things that puts me off Iron Maiden. My ladee and non-playing friends of mine into music are very much aware of the bass tone. They may not know what's making the noise but they notice it.

I was rubbish for the first two years of playing. Didn't even have a tuner, just had one "learn bass" book but the cd was missing. I got a tuner, downloaded tabs for my favourite songs (on dial up internet, what a ball ache!) And tried to learn songs I liked. After two years I went to play with a band who were far and away miles better players than me and I was so embarrassed! I turned up with a 10w practice amp and they had pro kit, I had a list of songs I could play... Well! Playing with the band just released me. Making mistakes is fine, it's a symptom of enjoying yourself and getting lost and experimenting. I've been gigging fifteen years now, on and off, and I make mistakes time and time again! But when you play with others, that raises your level, if you listen and try to play with them instead of play your part independently. They will cover your mistakes naturally, they will compliment what you're doing and vice versa without a word ever being said and often without anyone consciously knowing. That's the magic of it. Keep going! Enjoy it. Take lessons, but if you don't like the teacher change them. Play with others, ideally people with more experience but a good attitude. Listen to good bass music. Keep challenging yourself and come back to the stuff that you just don't quite get yet.... I'm still waiting for my week to dedicate to learning portrait of Tracy! Keep going. Nobody was a bass genius on day 1. Or even day 700.

Yep that's fairly standard ime, long hair but mostly bald on top, Marshall t-shirts and boutique valve amps loud enough to melt your face.

I'm not so sure about that , when I record myself , I always feel like I underperform, I just don't get with the click it doesn't feel natural . When I am stood standing beside my drummer who is doing his stuff I just seem to gel a million times better . The recording of gigs we've done are not great sound wise , but where I can be heard we are quite tight , and we have had positive feedback on that basis . Note fuckups are occasionally still there, but I forgive myself those if I am listening for a tempo I am struggling , if I feel the tempo I am grooving

Something to make them groove. Speaking as a text book self-centred dullard I think the subtleties of tone are lost on the majority or punters.

I'd have said "Funky in A minor, eh?" And then I'd have fired up the 2 envelope followers, bass synth and tube distortion pedals and got going with "Aah the name is Bootsy, baby".

This!

I never speak to guitar players unless absolutely necessary, so wouldn't have bothered me