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I liked it - Tina Weymouth had a far more humble approach to the subject than Stewart Copeland, I think she probably played bass for about 5% of the amount of time he played drums. There was a clear bias towards more mainstream, popular music - one hour is not enough time to get everything in! I was particularly touched by the Herbie Flowers segment, I'd say he was perfectly entitled to that pride 👍

A chap once asked if I could play "Amnesia" Cliff Burton's bass solo with Metallica (actually titled "Anesthesia"). I told him I'd forgotten it.

In the days when I still auditioned for covers bands I'd ask for the set list, the keys, which versions of songs (if applicable). I'd get the details, learn the songs, turn up and encounter exactly what the OP describes. So I started asking people in advance whether they did the songs as per the original arrangements or not. If 'as original', I'd learn the songs. If not, I'd tip up and busk the audition. The only problem was they'd all tell me they played the original versions when - in fact - they didn't. Because these people literally could not perceive any difference between the original and the half-arrsed racket they played. It wasn't that they'd deliberately rearranged the songs - they'd just never bothered to sit and listen to the songs from beginning to end, or to make notes and agree a structure and stick to it. This - along with the usual vortex of lies, madness and egotism - is why I f**king hate amateur bands.

We're a bunch of 50-something guys playing to a pub rammed with 20-somethings. Girl comes up to me and says, "Can you play something by Keith Moon?" Says I, "By Keith Moon?" "Yes", she says, "he was the lead drummer in a band called Who". We have always described our sticksman as the lead drummer ever since.

This arrived on my YouTube feed. I’m really not sure what to say!

Just worked out the 'CBA' being used in some the posts in this thread is not a chord sequence...

My experience of this is playing in an Americana outfit originally formed by a ukelele-playing music-in-the-community merchant. She was very enthusiastic and did a lot of good, but she was a very limited musician and either couldn't or CBA to learn the songs properly. Over a couple of years the band attracted some much better musicians because the song choices were a lot of fun, but each as they joined pretty much 'dumbed down' to her level. Finally their long-term bassist left and I was recruited, and I don't do dumbing down. If it's a 5-chord song then I play five chords ... I don't leave out the funny ones in the bridge because someone hasn't learned those chords on a uke. It didn't end well. She got her boyfriend (guitar & banjo) to sack me, which he did very apologetically, then it turned out the rest of the band didn't know until it was too late and within a month both she and her boyfriend were out of the band and they had split up too. I should stress that there are no villains in this piece. She wasn't evil, her boyfriend wasn't a silly billy, and I probably didn't help matters. But stinky poo happens.

Valves are voltage amplifiers, unlike transistors, that are current amplifiers. What this means in practice, that when you take a small signal of a bass and amplify it a lot with transistors, you end up with a low voltage and a hell of a lot of current, which is luckily what you need to put in a speaker. With valves on the other hand, you end up with not much current and a very high voltage, which is not what you can put in a speaker, so you need an output transformer to take it down to the sort of voltage and current you can put in a speaker, which obviously has to handle the full current of the output you want (and get rid of the heat). As you need a transformer to get the power for the amplifier in the first place it means you need two large transformers in a valve amp, which by their very nature are pretty heavy. And then you obviously are going to need a big bit of metal to mount them on.

Who ordered a pudding? Drummer! 😉 Set paused!!! 😣

Gig some years ago with a space-rock techno band, man approaches me from the crowd gurning like a bastid, huge grin on his face, brain quite obviously in a very happy place. "Oh Man.....what note are you playing right now ?" he bellows at me from a few feet away. "G" "I FECKIN' LOVE G !!!!" he screams /Dances off into the crowd/ Priceless

I've never done one of these before, but I'm just so delighted with this bass that I want to shout from the rooftops! It's incredibly versatile, with a really sensibly voiced preamp. The humbucker has a tonne of poke and there's no drastic volume difference when the preamp's bypassed. It's comfortable, with a lovely neck, excellent finishing and quality parts. If I had to find one quibble it would be the tuners - just not quite as solid-feeling as everything else...but that's pedantry. I know the marmite reputation of green basses, but green happens to be my favourite colour and I just love the styling of this instrument - just unconventional enough IMO. The icing on the cake was a fantastic deal from Sandy at The Great British Bass Lounge, who was a pleasure to deal with from start to finish. This one will be with me for a while. Cheers, Tobie

Played the Hard rock cafe in Glasgow last night. First time in there and the staff and the promoters, Shock city, looked after us very well. Free soft drinks, a meal, great sound guy and the place was full. Only drawback is it`s in the pedestrian part of the town and there is no back way in so we had to park the car and move the gear with hand barrows. And the parking is a nightmare. But you have to expect that in the middle of the city. Used my new Sandberg and was well impressed. This was our first gig for the promoters and they were so happy they payed us an extra £100!! And they will get us more and bigger gigs in the future.

I once learned 30 songs in a week in preparation for auditioning with a Jam tribute outfit whose bassist was leaving. On the Saturday night before audition week I went to see them play in a bar just to check them out. The band's arrangements were spot on to the originals, no problem there Unfortunately the 'Weller' could neither sing in tune nor play anything beyond the most basic chords nor enthuse the audience. The only thing he got right was Weller's driven charmless-ness.

Yep. Pretty universal I think. Just last week I watched a pub band whose bass player just couldn't stop himself playing on the verse of All Right Now. Sounded pants to me. Maybe not to most of the audience though, I don't know. Are we being too picky?

I think you'll find that 2 + 67 =/= 67. 😁 No, not a fast song. She was pretty. 🙂

For tweaking the body shape, I find Inkscape a decent poor man's CAD package, but I do find it easier to start with pencil, set square and paper. Main reason is that the fundamental limits are very easy to get down - the design envelope, the neck dimensions, etc.. For the envelope, I traced round a P bass body I have hanging around (as you do), then marked against that the fretboard dimensions (including 12th fret relative position) using a Squier hanging on the wall and then overlaying the maximum dimensions of the walnut - which, at 320mm max is a touch narrower than a P. Using @fleabag 's photo as a guide, I drew a general outline that I will then transfer into Inkscape to do the aesthetic tweaking. But here's the rough pencil-drawn outline: Initial thoughts are that the leading edge of the top horn needs to be a touch steeper and the top waist maybe a tweaked a bit to match the offset of the tail. But I can tweak that to my and @fleabag 's hearts content on Inkscape. The other part at this stage is to look at the thicknesses of the various components at the neck joint: This is full scale, again using a Squier neck for dimensions - although when @fleabag 's arrives I'll double check it - and here we're in a bit of good luck. Because the walnut is relatively thin (we'll be using basically two tops rather than a top and thicker back) the plan is to have a central splice. And in a flash of inspiration I think I know what that should be! @fleabag wants a purpleheart pickup cover and the neck to be stained to match. So why not use the purpleheart neck splices that David Dyke sells as the body splice. These are the splices in my Swift Lite neck: And they are 6mm thick. And 6mm in between top and back walnut of 13mm each is 32mm - perfect! But there's another bit of good luck. Have another look at that drawing: See the (to scale) back wood. And the 6mm central layer (ie purpleheart) and look where the bottom of the neck heel sits! On top of the back assembly. Then add the depth of the neck - and the fretboard is EXACTLY where my Squier neck fits in relation to the top of the top. And the bridge that @fleabag is sending me is the Schaller low height roller unit - which is the within the adjustment range of a standard Fender P or J bridge I'm chuffed at that Next jobs are to draw the back and then load the drawings into Inkscape - and that's tomorrow's job.

Heroic

An idea? Wrap the neck in cling film then cast it in plaster. You can then take measurements, make cardboard templates, etc. from the positive form

Everyone that has flicked through an argos catalogue in the last 30 years knows what a P bass is, she wasn't trying to bore the audience to death, lol. You could make a ten part series with ten different hosts and still not please everyone, I'd watch a two hour special on John Deacon alone yet wouldn't care about Wooton, Marcus, pino, jaco....

Hey guys, first posting here from Seattle. Just received my ABM 115 compact cab from Reverb. Listing described it as used, but as far as I can tell it’s brand new... original box, even had the “keep fresh” golden sticker. Score! Even more surprising in a good way is that the cab is 500 watts (they originally said 300w). I really get into cliche territory when trying to describe any bass sound. So I won’t. Let’s just say, I’m a very happy customer. Haven’t owned a 15” cab since about 1993 (dating myself here), and, it was just the punch and bottom I’ve been missing all this time. I’m just happy to have paired it to my ABM head, as I tend to get distracted a bit and mix cabs and heads. Now I’ve got a full stack Ashdown, and this is where I excuse meself and zen out to some low end rumble in the bedroom. Gig tomorrow at the local dive, even setting up in front of the darts area, and now, we’re gonna shake that joint to the flippin’ ground! Cheers

Really?

Brilliant programme. Nice discussion of bass as a key part of music, rather than just dragging the usual suspects in front of a camera. Obviously a few were featured, but more to give some context to the increased importance and prominence of bass in music since the invention of the bass guitar... and then continuing into electronic bass Catch it on iPlayer if you missed it

To be fair, it's one of the better notes.

Hello, I'm planning on building my very own custom pedal-board and -case. I'm (loosely) basing my design on this pieces of German pro engineering: https://www.schmidtarray.com/ A friend of mine studies product-design and he was willing to help me make a solid-works design, of which I will include a picture. On the picture the top of the case is rendered as glass just to make the image a bit more clear but it will all be made of wood. The board has a small level plane in front for my loopswitcher, 2 tilted planes for my pedals with nice cable slots, a level plane on the right for my VariPhase expression pedal. The tilted planes will have hinges to make the space beneath them accessible. Outer dimensions will be 674mm x 424mm x 184mm. All wood will be 12mm (hardwood)multiplex. I'm putting quite some plugs in the side of the case: 1 power connection on the left, and on the right I will build my own 'patchbay: 1 bass input, 2 amp outputs, a connection for the channel-switch of my amp, and a XLR out because I'm planning on putting a nice DI inside so I have my own choice of DI when playing live. All these connections will be a plug on the outside soldered to a plug on the inside so I can just use a patch-cable in the belly of my case instead of having to plug my bass directly into a pedal. This way when I'm gigging it's just plugging some cables in the side of the case and rockin' away. Progress right now: - Design is made - Jack-connections etc. are on the way - Extra cables are on the way - I finally found a decent website for 'flight-case-supplies', so I can order ball-corners (is this the right English word for that?), detachable hinges, a lock and some handles. What I still need to decide (and input on this is really appreciated): - Is 12mm (hardwood)multiplex the right choice of wood? - Handles: I'm thinking about one in the front on the lid of the case and two on either side on the bottom of the case. Not really sure though. - I can have the wood cnc'd and have it perfect, or I can do it myself with the help of a friend of mine who is a bit of a woodworker. Pro's for cnc are the quality, pro's for doing it myself/with a friend are the lesser cost and the pleasure/satisfaction of building it myself. It might be a week or two before I decide on the latter matter because I'm having exams and I'll have to wait for a reaction on the pricing of cnc'ing a some plate material... So until then, please give me all the input you can think of greetings from Belgium

Since I know there are a lot of synth fans amongst our ranks... https://www.ehx.com/blog/electro-harmonix-introduces-the-bass-mono-synth

The trailer for the series referred to "The holy trinity of rock", which I took to mean drums, bass guitar and kazoo.

@arthurhenry Looking at that lot,there's no way I'd let you near a jukebox 😃

You did! Just then!!! Everyone else was thinking it quietly to themselves and being all dignified about it but you just had to go and blurt it out. Cuh. (Heeheehee)

That and a couple of other things relating to The Weller's manner and his grasp on sanity led me to email him to confide that I wasn't a competent enough musician to join his band, warmest wishes for the future. I then changed my name and fled to Indonesia.

Youtube tutorials can be confusing too.as tutorials on the same song often outright contradict each other, are simplified versions or are flat out wrong. The other day I was trying to find an accurate version for the guitar part of 'I Want You Back' by the Jacksons. I watched four videos, each with their own unique (and often wildly inaccurate) take on it.

I've had to learn Separate Ways by Journey for one of the current bands I am with, it was not a song I knew so I did a bit of hunting on Youtube and found a guy who really played it correctly so learnt that version, at the first proper rehearsal we kicked into it and it sounded terrible, the band had been playing some weird quasi version based around the previous bass player playing the same chords as the guitar, I have got them to learn it properly now and it sounds far better for it!

It is a constant trickle of irritation in my little band. Drummer and I take pains to get note/beat perfect if practicable or necessary (although not always). Guitarist (who else?) is an exceptionally capable and talented player but always tries to shoehorn in 'doing our own version' because I believe his memory is failing - he prefers to busk things. Sometimes, as a result, we end up doing some very good alternative versions but, sometimes, it all sounds much the same. One tune in particular irritates the tits off me - no idea why particularly - we do Roachford's 'Cuddly Toy'. He insists on playing over the breakdown where there should be no guitar. Kills the song stone dead by taking away the light and shade. There, unloaded that, feels much better [/rant]

Now I have lute gas...

By popular music standards... covering Motown, Beatles, Disco hits is covering the bases (not basses) enjoyed by many, many millions over the last 50 years. John Myung is practically invisible on these terms - no matter how good he may be. This was all about pop music...

Couldn't have put it better myself - I thought it was great and also good to see keyboard bass covered. The footage of Bernard Edwards was great - imagine having that much groove!! And Jamerson also. I think the balance was excellent and particularly as it focussed on iconic music which will be known universally and the changing role of bass in it - was it just me or had the sound been EQd to make the bass more audible in some of the music. The Fender P did get a specific mention as did the Hofner and Rickenbacker (Beatles) but only to show the change created by moving from a focus on thump to sustained notes and potential to play higher up the fretboard. However the iconic lines covered showed a broad range of bass types, which apart from bass geeks, is the reality of how it's generally panned out. As with the drum programme I thought it was done well. Perhaps missed Fretless (Pino probably the most known to a general audience owing to hit singles with various artists) and slap (but this was covered in the double bass section) - and double bass really was ubiquitous until the 60s (with occassional notable exceptions). But generally excellent - I thoroughly enjoyed it 👍😊

Yeah lots missing , but hey. Weymouth was utterly charming, and i've invited her round for tea and biccies. So so laid back and no BS. I had to giggle at Bootsy explaining about the enormous bass line ( and one of my fave bass lines of all time ) he came up with on Brown's ' Sex Machine ' and Brown stating " Great bass line, and i'm glad i thought of it " And that green suit he was told by Brown take off Some good stuff in there, not comprehensive, but you couldnt get enough to please everyone in 60 mins. Just impossible

It’s home now. I am absolutely ecstatic at the build quality and attention to detail. Sounds great in the house with my Streamliner and Pbass. Proof in the pudding will be at rehearsal this week but it is sure to be great. So, it’s a fifteen inch 400watt neodymium 8ohm beast. Custom Rolex and grill choice. Attention to detail like, I asked for a side handle and Tom has put little feet on the side so I can place it down without damage. Weighs in at 17kg which for me is an easy one handed lift. It’s made from 18mm play and is rock solid. Delighted. For £350 Ill use this on its own at 8ohm with 350 watt max from the amp and with my Genz 210 at 4 ohm with 600 watt max from the amp.

Thanks for the laughs folks. I'm sure none of you really experience such strong emotions about the look of an amplifier or a guitar. Being serious for a moment, I like everything about the MB gear I have except for the fact that I can't buy bits or schematic to repair my broken amp myself. That stinks. Anyway sorry for hijacking a fun thread. Let me try to join in: Um, phwoooar I love how that bass looks/think it's horrid. (Delete as applicable)

Brilliant! Tina Weymouth: "For those not from the mothership...."

Really? Gigging is the best bit of being a musician surely. That's what made me take up bass in the first place.

Got asked for Duelling Banjos once. I explained it was tricky to do without a banjo player. Punter said "Just play it anyway".

We got a seriously drunk punter slur " Know any Quo mate?". We were a Quo tribute band. * Palm meet face*

Man, we used to play in two different tunings ( because of a bloody accordion player, who wanted to play on the white keys) I liked to play E flat for the rest of our set because it sounds meatier, plus easier for the ageing vocal chords. Anyway, it meant changing guitars around, as we didn't want to tune up and back all the time. Started a set for an alcoholics anonymous dance and I had the flat tuned guitar and the song was in standard. I'm the singer, so I had to try and play the song (crazy little thing called love) a fret out, whilst singing. The result wasn't pleasant and I was suitably embarrassed. We managed to save the evening after that, but it was a terrible start!

Two Hawkwind-mad guitarists, an absolute techno demon on laptop and me with the largest pedalboard I've ever had...Yeah, it was pretty darn awesome There are further stories of chemcially-altered crowd antics, but I'll save them for another time. Mind you, Mrs. Pook tried to have a conversation onstage with me during at gig with the same band, bless her. She'd been, um....partaking rather heavily that evening and was very insistent that we have a chat. "But I'm onstage..." "I know but....." "Love, c'mon....kinda busy.....hey, you couldn't grab me a beer could you ?" "Yeah, sure....back in a miniute..." Busies off, happy to have a mission. She got lost in the crowd chatting to people and I caught up with her after the gig.

Agreed, performance nerves are an awful thing. I have always struggled with white coat syndrome ie doctors, hospitals etc,to the extent I put off a minor op 3 times over the last 10 years through sheer terror. I had the op three weeks ago and coped very well with it and I put it down to reading "The Chimp Paradox" by Prof Steve Peters, the psychologist who helped the British track cycling team win so many medals. It really did help me to put things in perspective and concentrate on the process rather than the outcome of a situation. Give it a try its now on library shelves so you don't even need to buy it.

A woman came up to me in the middle of a song with a wad of cash and shouted in my ear 'Can you give this to the DJ?' In the MIDDLE of a song! What am I going to do? Put it in my mouth?!

This is so true. I usually struggle to even remember what songs I can play.