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And fans of the Sound of Music will recall the song which helps you remember: Do, a beer, a mexican beer Ray, a bloke who buys me beer Me, a blike I buy beer for Fa, a long way to the bar So, I'll have another beer La, la la la la la la Ti, no thanks I'll have a beer Which will bring me back to do do do do ...

Hello Basschat; my name is Richard (formally Richard II when onstage), I am a session musician of the (currently) semi-professional variety, I have just returned from my first genuine big boy tour, and I would like to tell you about it! A couple of months back I mentioned this would be happening in another thread and it was suggest that I post a trip report - the last month has been something of a blur and this will mostly be an attempt to collate some of my memories into a parsable format so I thought there might be some interest in reading about something not many people get to do. Wembley - Night 2. Please excuse the hair... For roughly the last 18 months I have been working with a lovely set of musicians called Bang Bang Romeo covering various roles including bass, guitar, and keyboards. They aren't famous (yet), but are a little higher up the ladder than most club bands so it's been a real pleasure to drop onto most of the gigs they've been getting. I've known them on and off for a long time as we're all from the same town and there are only so many people working at that level in the local area so it became inevitable that our paths would collide. About a year into my stint our agent told us to clear our summers and kiss our wives goodbye as we had dropped onto a big tour. He admittedly says this a lot, but this time it turned out to be a genuinely life-changing run of 14 dates supporting P!nk on the UK Beautiful Trauma Tour around the UK and Europe, with an option for another 6 dates if we didn't manage to show our entire asses on the first leg. I was nervous but just about keeping it together until I received the tour manifest through and found that the SMALLEST date on the run was a 30,000 cap stadium... The next six months were mostly a blur of rearranging songs for maximum impact and paring the set down to a machine-precise 25 minutes until about a month before we left when it really started to hit home that this was happening. In particular there was a moment of panic where the other guitarist and myself were doing a stock-take of equipment and realised that we had no cables long enough to reach our pedal boards from where the amps would be at the back of the stage. We'd all played some big events before, but this was a whole new kettle of fish and we were very much the amateur chancers on this tour - yes we were playing two nights at Wembley but right now we were still fitting rehearsals around our day jobs! In the end it was probably the best introduction to the touring life that we could hope for. Pink hires the best in the business and every single person we met was lovely to us. I was however reminded on regular occasions that this is unusually cushy for touring life and I shouldn't get used to this standard in the future... Her band introduced themselves to us early on and we got quite chatty with them over the course of the tour; Justin Derrico is the loveliest guy as well as a MONSTER shredder who incidentally has not just the best LP with piezo sound, but possibly the best acoustic sound I've ever heard in a live setting. Regarding gear, we are luckily good friends with the Hiwatt UK guys who kitted us out with rental amps and overnight shipped a replacement when one went down at Paris, so I can't give enough love to those guys. Initially I took my Tokai SG and a second guitar out, but after a string of equipment failures in the second week I was left with no usable guitars. I contacted Gibson Germany in a blind panic who very kindly talked me off the ledge and provided me with two gorgeous black SGs as loaners for the remainder of the dates. In the middle of the run we also flew from Belgium to Switzerland to play Montreux Jazz Festival with Sting and before you ask, no I can barely believe that particular sentence myself; at one point I actually burst into hysterical laughter in the airport shuttle because the whole thing had begun to seem so ludicrous. I think we stayed in Switzerland for about 18 hours before catching another flight back for the Wembley run (see above regarding hysterics) but we were privileged enough to play a full 50 minute set in the Stravinsky Auditorium with the best in-ear sound I've ever heard. While I can't hope to entirely do justice to the legendary spirits of improv that have walked those halls, we certainly gave it everything and it was possibly the most technically perfect set we've ever played. We also dropped onto the lakeshore to do a session for Swiss national radio with me on bass in the traditional four piece lineup while our tour bassist (Phil) chilled in the lake for a bit. I initially thought I got the better half of that bargain until we spent an hour sweating under a brutally hot tent canopy trying to parse the French-speaking interviewer's questions as Phil gambolled and frolicked in the blissfully cool waters of Lake Geneva behind him. I'm incredibly sad to be back now, but at least we have a few dates left on the run as I go back out for the Scandinavian leg of Copenhagen, Oslo, and Horsens in August. I'm not counting the days, honest... I'll spare the gory (and fairly tedious for those who aren't interested in tour buses!) details of each individual show, but here are a few highlights: Mercedes-Benz Arena, Stuttgart Mercedes-Benz Arena, Stuttgart - "Hello... gods, where are we? Hello Stuttgart!" Olympiastadion, Berlin - screw Wembley, what a venue! La Defense Arena, Paris - the gig prior to the SG taking a tumble! Montreux Jazz Festival - extra fly date supporting Sting. HELLOOOOOO WEMBLEY! (Night 1) Thanks for bearing with me this long - I'll be happy to answer rig questions or anything anyone might be curious about in later posts. If anyone is still interested in checking out more informal pics of backstage/touring life then my tour instagram can be found HERE.

Ah yes! Wigan Casino, 1971, tank top knitted by my own fair hand, from a pattern free in Women's Weekly; Starting at lower edge with Scarlet, cast on 96 sts 104 sts 110 sts Work in stockinette st (k 1 row, p 1 row), increasing 1 st at both ends of every 7th row 7th row 8th row until there are on needle 116 sts 124 sts 130 sts Work without increasing until piece measures in all... Uncle Spam motif was tricky with the old needles, I recall... halcyon days!

A light rub down with 600 and the result was good so two coats on top just to be 100% sure and I think the spraygun can go back in it's drawer You can see the reflections are looking relatively straight bar the orange peel

Many artists have made gear popular. Frinstance Bob Marley and ganja, Grateful Dead and acid and Doctor Feellgood and amphetamines...

On the table in the hall. Obvs. 😁

This looks interesting, roasted maple neck, PJ pickups with concentric pots and not the usual Jazz neck profile you normally get on PJ offerings: https://www.pmtonline.co.uk/fender-limited-edition-american-pro-precision-bass-daphne-blue

Prompted by the "Bass ramp" thread I have been a member on here for years. I have played bass since 1972, and you know what? I've never heard of these. I don't ever think about how I play. I never analyse anything.... I was once asked if" I meant to play all those ghost notes"?....I had and still have no idea what ghost notes are. I learned ,from here, that I must use the "floating thumb" technique whilst playing, but have no idea how...I just play that way. I don't understand what "left hand muting" means, I don't have any interest in using effects pedals. I just plug in and play ….learning to play covers by ear and making up my own lines by feel. I have enjoyed myself, played loads of gigs and just let things wash over me. Am I the only one?

Oooooohhhh oooooohhhh inner circle bad boys!!!

You're obviously entitled to not believe me here, but there's not much difference between fifty and fifty-thousand. 🙂 Once the audience is over a certain size they all just become the multi-headed hydra of Crowd, which is mostly a lot of noise and a bunch of dots that you can pretend aren't there. I've been a lot more nervous doing theatre gigs to thirty people where you can see every pair of eyes in the room and in between every song there's this awful hushed silence that you feel the need to fill... Enjoy the show tonight and play as if it's Wembley regardless of the size of the room!

And nicely done too so don't be so modest!

I like to play with myself, and I also like to play with the band... But you can't beat a good gig, with a roaring crowd and groupies that are recognisably animal, vegetable and mineral queueing outside the enormous dressing room waiting to have a go on our extensive rider. Then there's the press adulation - HERE'S an example from 1991...

Hi ya Ricky, I’ve been going through some of my old school tunes, here’s one you may like , 🙂

Yeah come on ref? Who started this stupid game? Who's in charge?

Stumbled across your post by accident and weirdly sounds like we are doing exactly the same thing at the same time! Been playing bass 20+ years, no keys experience, bought a Sub Phatty about a month ago, first gig with it tonight! I play in a wedding/party band so it’s all pop stuff, thankfully tonight is just a low key gig for one of our singer’s local pubs. On the synth menu this evening - Ain’t Nobody, Say You’ll Be There, Into The Groove, I Wanna Dance With Somebody and Flashdance! More than happy to share experiences, patches, and anything else that might help, I’ll let you know how it goes!

I look at this the other way. I’m a reasonable player / bass line writer but I do absolutely everything from a mathematical standpoint. What key is the song in, what are the chords etc. Then I can use notes from the relevant scales to create my lines. Although to be honest I mostly stick to chord tones and take the odd passing note from the relevant mode. Im happy with my sound / style but Ive always been in awe of more ‘natural’ musicians... A life long friend has absolutely no idea which intervals create which chords, I’m not even sure he could name the notes of the open strings... But he is a wonderful classical guitarist. I’ve not seen such a unconscious ability to write complex chordal pieces with little melody lines over the top played simultaneously. Wonderful stuff I could never have come up with myself. Takes all sorts this music lark 😊 I’m happy the theory framework is out there to learn as it’s given less naturally gifted players like myself half a chance of sounding good!

I wouldn't own a car and not drive or own clubs and not play golf. From the first time I played my Spanish guitar with my mate Pete at school, I have loved playing with other musicians. IMO the music that people make together beats playing anything on your own. Then I discovered audiences and I was hooked. In my view, public performance is the pinnacle of being a musician. I've just got back from a pub gig in Solihull. Part of a Blues and Jazz festival that's being held in town. This was certainly a long drive, but it was a good band, good audience and financially worth it so, win-win-win.

Found this picture of Teebs in the archives. 👍 Surprised?? 😃

I was late into playing bass. Had my first paying gig at 51 and I'm soon about to crash headfirst into 62. For me being part of a band and making music feels like the piece of me that was missing all those years has finally fallen into place. So as a result of that I love every single aspect of it. I love practicing at home. I love getting new gear and tinkering with it. Even a new lead will make me smile I love it when the band decide on a new song to play and so I get to learn something new. Then, when we get to rehearse it the first time, when it all falls into place and we nail it. Absolutely love all this - to be a part of a group of people who, through just playing instruments, can create (or recreate) some powerful music from nothing is an amazing experience. But gigging... gigging is something special - that wave of appreciation you get back is a feeling like few others. To know that you have contributed to a whole bunch of people's enjoyment is absolutely brilliant.

https://www.ebay.com/itm/Steinberger-L-2-Prototype-Bass-cust-EMG-Pick-Ups-Very-Rare/254178378013

The Whole Album on bass only. Macca heaven. (Apart from Maxwell that was George) 😋 👍

They look like something huggy bear , out of starsky and hutch used to wear 😄

and from the rear. . .

This will be heading my way soon!

Very well put teebs, and while you’re at it , could you knit me the trousers to match 😁

Mr. RB's sartorial elegance is well-known in these parts and beyond question, and if Mr. RB finds Northern Soul fashion {circa 1970, as modelled by yours truly} a thing of beauty, then I don't believe that you, I or anyone else should presume to dictate to him. So there!

That Papa Lazarou tank top is way ahead of its time

I suppose it's down to the myriad of things that can affect a finish, but it is a bit of a mystery why some go swimmingly well - and some just flippin' won't!

I dunno if it's a good idea to wanna look like him, RB. 😬

Are they suitable for my generation?

I saw Godflesh and Neurosis last night:in Birmingham Town Hall: Godflesh: Neurosis;

No doubt this happens. The very fact signature equipment exists points to name players influencing sales. Personally I just don’t get it... Why on earth would you want to sound like someone else? (Unless your playing a cover obviously). I can appreciate others great tone / playing but genuinely can’t understand wanting to sound like them... carve your own sound

When I was at skool, all the kids wore these black nylon baggies with patch pockets on the sides. If you were daft enough to carry a box of matches in a pocket, it wouldn't be long before an older boy would knee you in the thigh - simultaneously giving you a 'dead leg' and third degree burns from your box of matches exploding. It was f***ing hilarious... 😬

And once again, Squier are releasing the Fenders we want.

There's nothing wrong with purloining the occasional sartorial cue from those musicians who have played a formative role in our personal development just as long as we don't overdo it. For myself, I specifically wear the same brand of socks as did the late Mr John Entwistle during the period 1973 -1998 (M&S towelling socks / Black) but I don't make a song and dance about it; it's a discreet homage between me and my shoes. But dressing up as Hendrix in a tie-dyed tee-shirt and a bandana would be de trop unless, perhaps, one were performing in a Hendrix tribute act like the gentleman pictured below. Crikey! You'd swear it was Jimi come back from the grave.

I'm a big believer in the type of wood making a difference to the sound. Wood with a greater damping effect will kill vibrations from the strings quickly so they don't feedback back into the strings, conversely wood that doesn't damp will feedback more to the strings. Laminates have the effect of damping as the glue line is flexible and will kill vibration quickly (hence loudspeaker cabinets are made from ply). There was a video posted here maybe a year ago where someone had a neck and made a few identical block bodies out of different timbers and the difference in sound was astounding. That said, the Alembic claims do sound a little fanciful

I agree 100% with Loz196. I've been playing 'ham-fisted' bass in bands since 1968. Had a few 'Bouquets and Brickbats' over the years ....... but more importantly I thoroughly enjoy playing bass guitar, and that's good enough for me. Chris

Indeed this. I've taken on students who have been playing in bands for say, 15 years maybe more and loving it, but similarly have no idea what chords, keys or time signatures actually are. We have an incredible aptitude for being able to figure stuff out without the "on paper" theory. Yes, its fine to go on without but there's no harm in arming yourself with "the knowledge" - and it won't sanitise your creativity by understanding a bit more. In terms of technique, generally everyone I have taken on has been "ok" though in some cases I have had to spend considerable time undoing some bad posture that had taken its toll. You certainly aren't in a minority though and as per the quote, keep doing it and loving it

Me playing my 1978 Shergold Marathon in 1981 (after losing 2 stone from a trip to Syria and a serious dose of shiny shiites) and latterly this year at a local blues jam. Note the respray! I could not live with the crazy paving of the natural blond any longer. Eagle eyes may also notice I gave it a wrist chamfer to avoid shutting off blood supply to the hand.

I could say the same mate don’t you read previous post Reggaebass posted the same link 3 hours ago.............😜

It is I, wobbling about at the Birmingham 02 back in Feb,