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I was looking forward to last year's Christmas works do as we were booked into somewhere with a band on. That was until I heard said band launch into their tired rendition of 'Johnny B. Goode' quickly followed by 'I Saw Her Standing There', in which the bass player decided Macca had missed a trick by not slapping his way through it. I wanted to throw a chair at him...

Best one I heard about was Nick Fyffe when he auditioned for bass role in Jamiroquai. He had also auditioned for the same position in a Jamiroquai tribute band. On the day he got the job with Jamiroquai, he drove home from Jay Kay's place. When he got back there was a voice message on his home phone from the Jamiroquai tribute band, saying that they'd passed on him as they didn't think he was the right man for the job!!

Well actually ‘old’ amp but new cab (combo) .. I decided to build combo for my Gallien-Krueger 400RB II & put in a new 4 Ohm Faitalpro 15PR400 speaker to maximize the full output of the GK .. Big thanks to Stevie for all his help (and patience) cheers mate !

a young American couple sat front row at our gig. We are a 4 piece, acoustic and electric guitars, drums and bass. American:"woo wooo, play L.A. Woman" oh, we are all original, not one cover PS remember, no keyboards in this band. Our guitarist "we just played that,and we don't do repeats." rotfl then there was how I met my ex.......setting up the PA for a Sunday arvo gig she walks up to me, puts her arms around my neck and said "take me home and $%#^ me" "ummmm we're playing two sets" I made the drummer speed up in every song, by the end of the gig we were doing Ramones versions of everything hehe

I dont play past the 7th fret, Harry.

That reminds me of when we used to play regularly. We played with an accordion player, as we mixed Scottish trad. with our rock and pop set. He would ( on paper) sit out the rock stuff, but no, he insisted on vamping over the top of just about EVERY song we did! It used to drive me up the feckin' wall! Lots of hard driving rock songs with bloody accordion featuring! 😡

Nah - that's the cigar your marvellous wife has ordered for you to celebrate your various No Treble successes (we can always hope, right!)

S'never been a problem for me...

JMB and all the rest are full of blagging numpties. No different to dating websites. Profiles seem excellent till you meet up and find out that " good looking " advertiser has a face like a bag of smashed crabs. Better to be truthful upfront and stop wasting there's and your time. Besides, some people would be attracted to smashed crabs, if truth were told.

My wife is an ex lawyer....now a painter and actress, I.e. I pay for everything....

Nobody tells me what to play. I'll take suggestions. The reason is simple. I would never dream of insulting anyone by telling them what to play. Therefore, I'm not putting up with it myself. I like choice and if someone tries to take that away, then I'll probably make a choice to leave.

Very frustrating but I think it's the typical story. Extensive life as a soundman probably means he worked in a cinema turning the volume knob in between the ads finishing and the film starting. Too many blaggers out there. It took me ages to learn that the guitarist in my band was a sound engineer for touring function bands as his full time job for years. He never really mentions it unless asked, and he is damn good at setting the sound up. Very reserved about his abilities on guitar too (he's excellent though genuinely doesn't believe so himself). I think those that talk the most, unless they can back it up with video etc are probably liars.

Years ago, I was doing this regular Sunday lunchtime residency thing at a pub in Hackney. Let me cover the specifics; we're set up in the corner of the pub (The Cat and Mutton), three piece band, I'm sitting on a barstool, playing root notes doing covers (shudder), a 90 minute set in exchange for money, beer and a free lunch. One Sunday, there was some jostling at the bar over chicken wings and a fight breaks out. Now when I say fight, I mean a fight. It seemed the pub was full of two factions, both of whom were just itching to get it on and I'd say the place literally erupted and 90% of the clientele were punching the crap out of each other. Furniture is flying, people are on the floor hitting each other, glasses flying. It was like a brawl out of a cowboy film. Anyhow, let's get back on point. We're still playing. I'm laughing at the incredulity of what is going on, when I stand up and push my stool back closer to my amp to give the fight more room to breathe and from a selfish perspective, to offer protection for my gear. At this point, a bloke comes over to me and shouts, 'Excuse me mate, are you using that stool?' I just do this shrug and nod thing, he picks the stool up, runs into the melee and breaks it over someone. So there you are. The most ridiculous thing I've been asked is whether I was still using a stool.

On Joinmyband. TBH, I play stuff with a couple of guys weekly and it's okay, needs polish, but we are not intending to gig for a while, but they are good fun and well spirited guys. However, An ask came up on JMB for a bass player for a 'Chic' cover band. Well, I remember most of the basslines, but there are a few versions of the songs about so, I am not too familiar with all the changes. I speak to the guy on the phone who tells me he is an ex sound engineer and toured extensively, he is looking for high quality musicians an people who can simply pick stuff up and run with it. He is quite firm that this is his project. He has a drummer and a vocalist on email and adds me to the group. Some emails are exchanged, some in a random order with some song references, but no fixed list or versions, just some songs across 3 emails with 'keys' that are not really keys - they are chords played for the songs - so, I do a few bits of Chic (as this is the primary focus) as time dictates and leave it at that. We are asked to meet at a rehearsal space at a time and date. I turn up at the allotted time to find a vocalist who is about 200 years old, a bloke with arthritis on the drums and the guy who has organised this is possibly one of the worst guitar players I have ever encountered - literally no pazazz or feel at all. The vocalist does not have lyrics for all songs, I only rehearsed the chic ones that I skim read and the drummer only has 1/2 options in his capabilities and 120BPM was well out of his comfort zone, mixed with a god awful soulless drone from the guitar and an inability to play with any dexterity - Even the SRV solo on David Bowie's 'Lets Dance' was beyond him - Almost swiped the guitar from his hand and played it for him...... I was told by 'our leader' that my bass sound was wrong (and reminded of his vast sound engineering career) and I was missing out various bits of the songs - unsurprisingly he could not point to an individual bit missing and instead stated that the bassline is busier - I agreed and just pulled my hat down tighter on my head! As for sound, well, I usually practice through headphones on my amp at home and then have to make adjustments hen I have the cab linked up at rehearsals and was not really given an opportunity to adjust, in fact, I was given no time at all to warm up on a freezing cold night. Suffice to say, I won't be going back and I doubt I will hear from him anyway - It was truly awful. I almost packed up and walked on the 'sound' and 'busier' basslines bit.... Anyone else had to deal with this....?

Just finished up mixing and doing the video for the latest band promo video... We took a bit of a risk on this one... because we love the song - and to be fair, everybody else seems to also... but it's a song that I've never heard any other band do live. Always a tricky one when trying to figure out what will work on the promo front. The jury is out on this one... The whole ethos of this band was to do modern dance and pop songs but giving them that definitely live vibe. This definitely remains one of our faves to play live and always seems to get people on to the dancefloor when we kick off a set with it. What are your forgotten gems that your band plays, to get away from the normal GeFF (Generic Function Fodder)?

There are many reasons to play your own thing, and they're not all bad: Because the whole band has completely rearranged the song in a different style, and truly made it their own. Great! If no-one ever did this, musical history would be stagnant. Because the original part is full of variations and was probably improvised, and you're not in a warts-and-all tribute band. And none of those variations are prominent hooks that people will miss. No problem! The only people who'll notice are other bass players 😉 Because the band has had to rearrange the song to work with the instrumentation that you have, and so you're pretending to be a synthesizer or a piano player's left hand. Or there was no bass part to begin with, so you've made up something that fits the style. Okay! Because, as an amateur, you don't have the ability to play it "right" yet - but you're working on it. Fine! Because you're tone-deaf and you genuinely can't tell that you've got it wrong. Understandable! But perhaps music isn't the right hobby for you 😅 Because you think the original part is boring to play, and your own entertainment is more important to you than the audience's. It depends! Do you have taste and restraint, and have you come up with something that is sympathetic and doesn't trample over the song? Hint: Slap bass is never the correct answer! Because you know it's wrong, but you're too lazy to learn it and "the punters won't know the difference". Questionable! Kinda feels like you're insulting both the audience and the original artist 🤨 Because you've just learned how to slap / tap / sweep pick / etc. and you are determined to shoehorn it in wherever possible. Nope! I think that's why this is such a contentious topic whenever it comes up - folks assume we're all talking about the same thing, and some of them take it personally. I don't think anyone's got a problem with cutting down a long song, or repeating bits of a very short one, or making up an ending for something that fades out on the record. That's just practical.

Great band . Please can you post your set list so I can unashamedly borrow from it. 😛

That's amazing! I'm jealous... You got to play two sets! Awesome

And fingers crossed time. All packed in high-density foam in a sturdy flightcase surrounded by expanded polystyrene in a sturdy box; 'No CITES timbers' declaration signed with original invoices for wood species attached; delivered in person to the main regional courier depot. With US Customs officials having not been paid for 30+ days due to Trump's considerate management of his country, what could possibly go wrong....

These days I take a fairly laid back approach to covers in cover bands. As long as the version is sufficiently accurate that the audience is entertained and gets the desired reaction then I'm happy. I've seen too many bands waste loads of time trying to achieve perfection to the point that they never get out gigging or argue incessantly over details that only a vanishingly small percentage of the crowd would notice.

In some ways I feel it as challenging as I did when I first realised I'd have to eventually play for actual people. By people I mean those who aren't friends who would give me a street opinion because they don't know me personally. The buzz from meeting that milestone and passing it was worth the efforts leading up to that point. I expect it will be the same sort of buzz if I can get to do the singing bassist thing.

Update: Fender Precision, Dingwall NG-3, Fender Marcus Miller Jazz, Yamaha RBX775.

My trick was always to bend the bit of the string where the bare wire goes round the ball end at a 45 degree angle so that the ball end didn't get trapped on the bottom of the bridge peg and ping it out.

That stuff is easily available, a PITA to use (all the cables must be individually coaxed inside the rubber flap underneath), surprisingly heavy and floppily difficult to carry, and gets filthy and sticky at every gig. Apart from that, it's great. Rather than protecting vulnerable cables, just put the bloody things where they won't be vulnerable!

We offer a couple of options. Either vintage-style dresses, and vintage-style three-piece suits (tweed etc). Or, gold sparkly dresses, and burgundy dinner jackets with black trousers & black neck tie (think Motown vibe). We also sometimes gig in black tie. It's important if the client is paying thousands of pounds that you look like you cost that much.

Excellent topic! Yeah loads to rant about... My 2p worth: When depping: I think this problem exists on so many levels. There is a CBA attitude from players and singers that are just plain and simple lazy. They could do it but just CBA. I'm all up for going off on a tangent or doing your own thing (I do this my self) but only after actually knowing the material first. These changes would have been discussed and arranged first. Then theres' the not really good enough players, so songs have been adapted to suit. ie: Fred cant play the drum part properly in the mid 8 of I Want You Back or the singer just cant get a grip of when to shut up for the solo of whatever ,so the band have skipped that bit out. Problem is that band have done it like that now for so long even they have forgotten they have changed it. Its only on the gig that anyone thinks 'oh yeah should have mentioned that.' Or the band are made up of not so good or experienced players so they are blissfully unaware of just how inaccurate they are. Or....getting my handbag out for this one..... Bands that are made up of reasonably good players but really are all depping as part of a clique group within a town. No one really learns the material because 'y'know...im just too busy gigging everywhere all the time man. I just like ..y'know.. turn up and jam it out. Just follow the singer..' The very same singer that is reading lyrics off a smart phone and pointing at players at various places in the song where they really have no idea what the flipjs going on .... "its time for a solo...on the bass here's...." Its almost excusable if this really was a one off thrown together scratch band but the reality is these very same small clique bunch are in fact playing/busking/jamming out/ faking it/ the same material for the last 10 years. Shame as most of them are in fact great players but would never lower themselves to get in a room together and nail the tunes down. Meeowwwww!!!! Even worse: If its your own band... Players that think ..if a new tune sounds like it might work in a rehearsal....THEN and only then go away and learn it properly!!! The very same players that haven't learnt the tune properly then go.....'I dont think that will work. It sounds a bit lame.' Or.....'yeah that sounds like it could work. I'll have my sh8t together for next time.' Next time .....nope. Still haven't learnt it. Or I turn up having learnt a tune inside out only to get into a debate about how something goes and the person leading the debate with me hasn't learnt it properly. Then its out with the smart phone to prove points which really means 'I'll quickly see if I can learn this on the spot'. Or Prior to playing new tune.......'whats that bit in the middle 8 again? Can we go over that 20 odd times so I can be sure?' Passion. You have it or you dont have it. That feels much better now. Thank you.

Well that was fun. Great sound on and off stage, band played brilliantly, big audience who loved it. Some really great feedback afterwards. Didn't win the vote to go on the mainstage next year, looks like the rock bands one that every night, but I've never been one for music as a competitive sport! Made some useful allies, and feel like the band have made another step up.

https://www.gibson.com/Guitar/USACYC512/Les-Paul-Junior-Tribute-DC-Bass-Coming-Soon https://www.gibson.com/Guitar/USAKUC232/Thunderbird-Bass-Coming-Soon Quality bass innovation, reasonable prices.

Hi all! I started playing bass for the first time at the age of 67 back in October. After a (brief) flirtation with a Gear4Music Electro-Acoustic (which, I have to say, was inspirational), I now have a Sterling Stingray SUB 4, of which I am inordinately fond. It's Mint Green and the most bling-y thing I own. I love it very much and I am having such a ball learning something new in my dotage 😉 Big up to my teacher Chris Pidgeon - total confidence, much respect! And to Ed at Nottingham Drum and guitar Centre for his patience. That's it! Pete

This kind of look seems to be coming increasingly popular. What do you think?

Just a quick note. On FRiday night I played at a local venue where they provided a Fender Rumble 500 combo for me, on top of a box, so its speaker was at belly level for me. I loved that thing. Ended up with the controls set flat, using my Stingray. Very powerful sound, great definition... If I were looking for a nice combo that would not cost the earth... I'd be getting one of these, no question.

As an owner of a Roland Micro Cube I'm not sure that you'd get the volume you need. I'm unfamiliar with how a serpent sounds but when I was a band with an accordion player and soprano sax the battery Roland didn't really cut it. If you're anywhere near Derby you're very welcome to borrow it and have a try. The folk/baroque scene is unknown to me, but would turning up with an electric bass guitar result in cries of 'Judas'? 😄

ACG. You can thank me later.

Perfect for metal! I've also got a gong...

Luckily it was in a position where I could just cut off square and glue a peice on so I managed to repair it quite well and rounded off the back and chamfered the top........... I'll probably start the contouring tomorrow and my veneer should be here tomorrow aswell............ 😀 I'm thinking I might have to try and contour the back 'al a @Andyjr1515 style' to try and remove some weight as the body is a tad on the heavy side

The thing is, there are covers bands and there are bands that play covers. I've played in bands where everyone has gone away and learnt note for note what is on the record, and it still sounds wrong because the band can't reproduce every overdubbed part from the studio recording when they only have one or two guitarists plus bass and drums. A lot of the time (mostly on songs from the 60s and 70s) I find that what is perceived as the "bass part" is actually the keyboard players left hand and on the original, the bass guitar tends to be noodling away in the rhythm guitar range rather than holding down the bottom end. I found on these songs learning the bass guitar part was a waste of time and they would sound much better if I played the left hand of the keyboard part with any prominent bass guitar runs (usually those where there was no singing) thrown in. Even on those songs where the original bands instrumentation was the same as ours you still can't reproduce every overdub from the record, and playing every single complex fill and run on the bass, would detract from the main job of the rhythm section - getting the song to drive along. In the end I found it far more effective to learn and simplified version of the bass part and then add the more complex stuff back in if it was noticeably missing when we rehearsed the song with the whole band. I aslo discovered that the previous bass player from the covers band that was most particular about getting the arrangement right from the recording, had produced bass parts that had only a passing resemblance to what was on the original. A fact that I had never spotted, until I started learning the songs myself, despite seeing the band with him play on many occasions before I joined. I've also played in bands whose covers only used the lyrics and vocal melody from the original and the rest of the arrangement was new. Quite a lot of the time I have only had a passing knowledge of the original song and sometimes I completely unfamiliar with it, so in these situations I have tended to approach the song as though it was any other new original song and play what I felt was right for the arrangement as it developed. If I knew the song well enough to know that there was something missing at the bottom end, I would add it in but otherwise I did my own thing. TBH I enjoyed this approach far more, and IME the audiences were no less enthusiastic in their reception than if we had learnt the song note for note from the best known recording.

This is called having your sh8t together.

Is there a typo in there or are you playing down a brag??

Totally correct. HX Effects and Stomp both have 1 DSP core - Floor, Rack & LT each have 2 cores. Stomp has all of the same effect AND amp models as Floor, Rack & LT but has a limit of 6 blocks. HX Effects has no block limit but obviously has no amp models. Loading a full Floor, Rack or LT preset into Stomp would produce a very incomplete result as you’d hit the block limit and most of the components of the preset would not be present. Even if the preset from Full Helix contained only 6 blocks, what happens if those 6 blocks are each incredibly DSP hungry? They’d run just fine on Full Helix as the processing can be split across its dual DSP cores, however on Stomp parts of the preset would be missing due to not being able to run fully on the single DSP core. Loading a Full Helix preset into HX Effects would obviously incur the same errors re: DSP but with the added hindrance of not being able to include any amp or cab models present in the original patch. More errors. All of the above means it’s more effort than its worth for Line 6 to make Full Helix (Floor, Rack & LT) preset files compatible with Stomp and HX Effects. We’d get error messages all over the place, incomplete signal paths which bore no resemblance to how the creator intended them to sound and there would be complaints all over the Internet. Much wiser to keep the file types separate, ensure platform stability and tell folks “if you want to copy a Full Helix patch into your HX Effects or Stomp, copy parameters over by hand and get creative within the routing and DSP limitations of the device!”

This.

Cioks posted an interesting video about using one of their supplies to power a HX Stomp (among other pedals), and also show the exact current draw of the Stomp also:

Or an actual snake. That'll keep the punters away from the stage.

You need another project.

This ^^ is correct. The pins will have a groove in them. This groove should be facing the headstock, and will slide down the string, past the ball-end. When under tension, the ball-end will not be beneath the pin, but alongside, such that the more tension, the more the string itself tightens the pin against the hole. If done properly, the pin cannot come out, however high the tension. The bridge would bust first. Hope this helps.

We play our own version for two main reasons (there are often others...). Firstly, we may not (in fact probably don't have...) the instruments of the original. Example: our singer does a vocal impression of the trombone solo in Beds Are Burning. We once had a few mates on stage with us as a horn section, and it was glorious, but without them, it's 'Parp Parp' from the singer. Secondly, I play drums. I'm (modestly...) quite good, but not up to Soundgarden standards, so I simplify the fills when necessary. RATM I can handle, or Muse, but SOAD has some pretty technical stuff going on, for which there's not enough years left in me to learn. I do what I can with 'em (and it's not catastrophic, just simplified...). Sometimes we just do it differently because we like it better our way, of course. No, it's not laziness.

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

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.