stingrayPete1977

A little point Conan has highlighted for all of us here that use speakon only gear is to invest in a Jack to speakon lead, it would have enabled a test with other cabs here, it would allow the use of a speakon head with some one elses cabs on a shared stage setup or emergency etc, it would allow if reversed the use of a speakon cab with a borrowed head for shared gigs, rehearsal rooms or half way through a gig if your head blows up and a friendly bassist lends you an Ashdown or something. Don't leave home without one!

Is it compulsory that they are run by idiots? We used one once a week for two years, they charged more than anywhere else and a membership fee, e had to renew the membership fee every year and when the guitarists Mom died the day before our rehearsal they charged us the full fee. Now I'm all in favor of charging if you cancel to stop kids booking it and not turning up but after two years money plus drinks etc you'd think they might wave that one? We've never been back so that's £120 a month lost to save them £31.50

When I listen to my old originals stuff I think "is that me?", sometimes for the better actually, pre basschat, pre over thinking it days

Weekend warrior for me

It's useful for jamming to see visually IMO, I couldn't see a B7 either but in that situation it would be the B and the fifth I'd be playing with generally then adding anything fancier by ear. I'm crap on most instruments.

[quote name='jezzaboy' timestamp='1426630827' post='2720220'] Thanks for that picture Pete. I have now printed it out so I can show to the wife the next time she complains about bass guitars taking up space!! [/quote] I'm quite a lucky boy being allowed to keep a double bass in the bedroom I know I'm not sure the word accomplished and my upright ability should be in the same sentence kev without the words terribly un before it, lol

Even if some one else does the dots later don't under estimate the player of those dots, say a reading player in the strictly band gets dots to something Pino played that player still has his or her ears and understanding of the dots to correct it on the fly.

[quote name='BigRedX' timestamp='1426669973' post='2720428'] I can imagine at least three different scenarios that a session player might encounter in a professional capacity. 1. The part is written out as notation to be played as scored. 2. The part exists only as a recording whether it is a synth part on a demo that's going to be replaced with "real" bass or someone else's bass part on a recording that is going to be performed live. 3. No part exists (except maybe in the mind of the songwriter) and you will be expected to come up with something appropriate for the piece. There might be a simple chord chart or might be a case of listening to what is already there and writing something to fit. Each situation requires a different skill set. A truly versatile musician will be able to do all three, but it's up to the person arranging the session to pick players with the appropriate skills. Just as a musician who can't read is no good for a session where the part has been written out as notation, someone who can't quickly come up with a new baseline or improvise to a basic idea is useless if they are expected to be part of the writing process. [/quote] We have been here many times before, in reality the people who read well almost always have the ability to improvise too, there's always the tale of the guy who can play anything perfectly as long as it's on paper that can't jam a twelve bar but for every one of those there are a thousand sight readers that will blow you away within moments of some one calling out "give me a jazzy blues thing in Eb". Chicken and egg IMO, those that can't read saying they never get reading gigs and those that read saying they would have lost half of their gigs if they couldn't read!

The little one lives on a hanger in the other room normally and the big one only fits there really, big clumsy awkward thing! Lol. It could go in the spare room but thats south facing and gets very hot even in winter. Sensible answer is very quiet with lots of clicky clacky fingerboard noise

The one on the left is a lot louder the one on the right unplugged [URL=http://s997.photobucket.com/user/stingraypete/media/20130308_185259_zps4eb72611.jpg.html][IMG]http://i997.photobucket.com/albums/af100/stingraypete/20130308_185259_zps4eb72611.jpg[/IMG][/URL]

[quote name='lowregisterhead' timestamp='1426625410' post='2720109'] [i]Desirable[/i] perhaps, but not a [i]necessary[/i] skill. It all depends on what kind of gigs you might get a call for. Suffice to say in 40 years of pro and semi-pro work, I've never been asked to read dots. [/quote] From what I gather the people doing the calling have a fairly good idea about who has what skills or know someone who knows someone else who knows who can or can't read/play jazz/upright bass/etcetc, which is why you haven't had those calls rather than the gigs not being out there to get?

[quote name='lojo' timestamp='1426623365' post='2720053'] The basschat Paradox Having a reading skill means your a better musician If you use that skill to perform live , your using a music stand so lose the better musician rating [/quote] Damned if you do, damned if you don't, lol

Ah this is poop, some big bass playing names gone recently what with Jack Bruce last year too

[quote name='JTUK' timestamp='1426513304' post='2718641'] scot-free. [/quote] Well the get everything else for nowt even without Devo max

I'd have the Lakland, anyway if you wait long enough there will be an AC signature version of all our basses in the end.

I'm gonna guess, epic

I'm not that far from Nantwich kevvo, if you fancy a dabble on an eub just drop me a pm sometime

As long as they are both good cabs I think it's personal preference as badboy says anything more and it will become a monitor mainly. The tall and narrow cab often lighter gives the two twelve the edge IMO.

I've said before that a good 2x12 is a match for a 4x10, and a quality 2x12 will demolish an average 4x10.

[quote name='leschirons' timestamp='1426515563' post='2718678'] Worth every penny if you're able to play just like him after you get it [/quote] I've heard that these come with the complete back catalogue in tab approved by Adam himself, it's printed on the back of the hang tag

Lol

When the gig is going well I really don't care that much about the tone, the nut width, the handles falling off, the music stand etc etc, I've had some of my most enjoyable musical experiences with my cheapest bass and using the house bass amp for example. How about double bass for a new challenge?

The reviews for the Krivo are really good I would still like one at some point, I like the Schaller for now though, ok I'm not going to play Symphony Hall with it but for New York New York or some swinging Blues down the local pub or small scale wedding/party gig it's great, in a full electric band with a drumkit to me it sounds as close as a piezo but without the constant feedback, I guess the Gibson Les Paul, Marshall Stack and 2000 watt PA system was 'less popular' when the Bull fiddle was first invented!

Lol, I did concider a bass player page but I'm busy enough without it, we do have a group for the jam night we run though even though I cant see it or post on it.

My favourite bass ever was my pre EB ray that Foxx now owns, it was my forever bass, I purchased my ClassicRay5 off oldhorsemurphy as the closest bass possible to a pre EB Ray with a B string, I still miss the old one but I'd never play it