mcnach

Silly loud practices was the main reason I quit one band and I announced my quitting on another (but the guitarist accepted playing at lower volumes so I didn't have to go... and amazingly he stuck to it for 4 years!)... It's nice to play with some volume, but there's not much point if it's causing ear fatigue and you can't hear everything everybody plays clearly. "Diego", are you there? Those guys drove me crazy. The answer to playing like sh*t was play louder so that the wall of sound covers everything. Pity, as the singer/guitarist was decent and had some cool songs... but the other guitarist was clueless and he kept complaining he couldn't hear his guitar and kept turning louder. He used a very scooped kind of sound with lots of distortion and with the amp on the floor aiming at his knees... My suggestions about positioning the amp differently and dialling in some more mids were completely ignored... he was one of those guys that feel personally attacked if you dare suggest changing anything they do. It was only a month but...

We had that a couple of times. Sometimes someone thinks it would be great to have a band regularly playing at their venue, but they had not thought about noise issues and after a gig or two they realise it's not suitable for their purposes. Once it was the first time they ever had live music. Neighbour upstairs complained during our first set, it seems, and we turned right down for the second. They only do acoustic duos and the like now. The other place was meant to be a cool gig, every Friday, decent money, local and easy access, good food included... we played twice. I was surprised to be asked back after the first, really. They normally had a guy playing a piano. It was not a music venue, really, but more for background music. An 8-piece energetic ska/funk band wasn't a good match. Sometimes the person in charge just likes a band and the idea of the band playing at their venue, but they haven't really thought it through. It sounds to me like you have been caught in a similar situation.

Good to know. I'd love to see the Urban in the flesh. Even if it's more expensive, if it's as well made and a little less bulkier and lighter, I might go for it. And in a prettier colour (vain? moi?) The keyring... not sure that would sway me, unless it has a beer bottle-opener function

[quote name='DaytonaRik' timestamp='1480769292' post='3186995'] Surely that's an indication of the venue and the area, not the fee? On topic - our take is the normal £200-250 for a four piece . What we get paid has no impact on what gear we take including a pair of Gibson Les Paul Custom Shops '57 reissues for one of our guitarists. If that's the rate for the product in the area then that's the rate and I can't see that changing much for a generic covers band. [/quote] That's my thought as well. The bar won't care whether my gear is cheap or expensive, only that it works. I bring what I bring because I like using it, and if I don't feel safe n a ny given venue... I just don't play there. I don't play warzones As for the fee... £210 is not much, but if it's reasonably local (meaning easy/short transport time) and that means £70 each, that's not too bad. I'd like to get a regular local £70 a head for our 8-piece originals band Bars that get bands playing covers often have a flattish fee. They rarely care whether it's band A or band B playing, so if you don't play, another band will. If you've got a better gig, take it, but meanwhile it doesn't sound like such a bad deal. To be paid more you'll have to show the bar it's worth their cash, usually by being a band people go to see especifically resulting in a higher drinks sales. Only a small proportion of covers bands achieve that. Originals bands may have the unique selling point of doing what they do and nobody else does it... but usually not enough people care enough for venues to pay a huge amount more, and in fact it can get harder to get gigs at first. It's tough out there!

[quote name='Chienmortbb' timestamp='1480720988' post='3186795'] After 10 years with hardly any wear, I clipped my Aerodyne on a mic stand and a chunk of lacquer flew off, [b]exposing bear wood[/b]. [/quote] some very surreal and inappropriate images came to mind... I need my meds

[quote name='anzoid' timestamp='1480759993' post='3186914'] Alcytes could be your man: [url="http://basschat.co.uk/topic/293263-pink-westfield-p-bass-with-an-extra-p-pickup"]http://basschat.co.u...-extra-p-pickup[/url] - and it's got an extra pickup too. Or if you're not fussy about the brand and just want a pink bass: [url="http://basschat.co.uk/topic/279517-pink-phil-pro-p-bass-offers/"]http://basschat.co.u...-p-bass-offers/[/url] [/quote] thanks, but it was just a phase... now I'm cutting down

[quote name='eude' timestamp='1480694070' post='3186518'] If you don't mind the colour, I'd say go for it, it's about £50 off, no? [/quote] yeah, about £20 off the normal F1 price, or £50 cheaper than the new model, the Urban.

[quote name='Mykesbass' timestamp='1480406591' post='3184023'] Could be the new Sue Ryder basses [/quote] ha! could be... I wanted a pink Westfield for ages, but fortunately I did not find it They're pretty cool instruments 'though. I have a Jazz and it's very good.

[quote name='eude' timestamp='1480687764' post='3186435'] The F1 certainly feels a little more substantial, however I think the improvements in the design for the Urban negates that, and also means it's a little lighter. I can't quite compare apples with apples, as my F1s are bass bags and my Urban is a guitar model, don't worry though, I use it with my short scale headless. The Urban is equally well made, I wouldn't worry about it compared to an F1, as good, if not improved They do still have some F1s, but in a bit of a nasty colour way >> [url="https://www.fusion-bags.com/collections/guitar-gig-bags/products/f1-bass-guitar-gig-bag"]https://www.fusion-b...-guitar-gig-bag[/url] Eude [/quote] Ha ha! I have the green one too... not because I liked it but because I could not get the blue or orange that were my first choice Tempting to secure one of those... especially at that price

[quote name='ped' timestamp='1480682452' post='3186353'] You could still easily extract your bass in that way - although you'd have to make sure that the neck isn't secured with the velcro block. The internal bracing can be arranged so it doesn't interfere with the taking out of the bass. I've only got my internal dividers around every contour because I wanted to see how well it kept it's shape. I wasn't aware of the F1 and only recently discovered these bags but I know they tend to change designs based on feedback and developments in materials so it's probably worth giving one a try bearing in mind their returns policy. [/quote] Thanks Ped.

any clips for how it performs as a 'kick in for slap' pedal?

Nice review, thanks Ped! I've been using a Fusion F1 for 3 years now. Still going strong and it's a fantastic bag/case. I was a bit disappointed when I heard the F1 was discontinued and the closest new model would be the Urban, as it seemed to me that they reduced the peripheral protection but I guess it's because of the new inserts that hug the body. Eude, how do they compare, the Urban and the F1? I'm thinking about having a second case and I'd love another F1, but I guess the Urban will have to do. One thing I enjoy about the F1 is that between sets etc my bass is in the case, upright. Often between bass cabs and a guitar cab with a wall behind. To get my bass in/out all I do is unzip the case about half way and slide the bass in/out. It looked to me the Urban makes this harder. Am I right?

[quote name='Twigman' timestamp='1480672676' post='3186231'] I went to see The Cure again last night. Simon Gallup has the poses...he also skips about the stage in fits and starts....i have no idea how he manages to not miss a beat (other than the fact his basslines are simple)...the way he looks like he's trying to push his bass into the floor all the time impresses me. just saying [/quote] probably the fact he's played them 10,000 times is a factor

[quote name='thepurpleblob' timestamp='1480604856' post='3185784'] You can get a bass with FIVE strings now? [/quote]

[quote name='thepurpleblob' timestamp='1480589612' post='3185627'] I'll learn slap when I can remember all of the scales and modes.... that'll be never then. I can't even play with a pick. All this technique stuff is a matter of priorities unless you really do have 12 hours a day to work on your bass playing. It always looks like a great deal of pain and effort just to look like a smart-ass 14 year old. [/quote] will you wait to try 5 strings until you get all that mentioned in a 4 string first?

[quote name='Ghost_Bass' timestamp='1480337618' post='3183427'] Yesterday i took some time to try repairing the tweeter in my cab. Removed the grill to gain access to the cab and mrs G_B calls me to help her out with something. I return to my work and find these two little helpers: Fortunately tragedy avoided, the drivers got out of it unharmed, except for some bashed in dust caps. Out comes the vaccum cleaner and a kitchen funnel and they popped out again, like new. I couldn't bring myself to be mad at them as it was my fault for letting the door open and they looked so cute in there. But it could have been a lot worse... lesson learned, if it fits they really sits! [/quote] what is it with cats??? you draw a circle on the ground... and they'll sit in it.

the 10-15 week wait for a Maruszczyk suddenly feels so much bearable

Two identical basses? Why not? If you gig... you have a backup/ If you dismantle one for maintenance or tikering of any kind, you're not under pressure to finish the job, as you still have a working bass. You can try different strings on each! If you don't need the cash... I'd keep both.

[quote name='WalMan' timestamp='1480423510' post='3184213'] Happy days. We're supposed to be recording a new album across the continents this year, though it's hard work herding the cats to get it all together. In the meantime a load of old live videos are being dripped out on a weekly basis. Can't remember what amp I had at the time. I have a sneaking suspicion that it was a Peavey Megabass biamped into a Peavey 1516 cab (2x8 +15). All things considered for a video from 26 years ago and the sound rescued as best as possible it doesn't sound too bad. We had some bloody good fun [media]http://www.youtube.com/watch?v=Vl4ys-zeYkI[/media] [/quote] love it!!!

The right bass/set up is also very important especially at first. My first attempts were very frustrating... until I tried another bass and it actually sounded good. Clumsy but good sound. As JTUK said, make sure the strings are responsive... flats work and are beautiful but not the best to start with, same with dead rounds. Use something reasonably fresh. Low action. With high action you'll have to work harder at getting the right bounce and it'll feel a lot harder than it has to be. Sound... if you're practicing by yourself... a slightly scooped sound would probably sound more pleasant. Both pickups? Try both full or back off the bridge one a little to get a bit more presence. Try just the neck alone for fun and see what you think, for a more "70s" type of sound... Also... mind where you hit the strings. Some basses, in particular P/J type, have a pickup right in the way. A Stingray is perfect... but a Jazz also has a good space to do your popping with ease. And try to relax! When I started I found it exhausting and often my shoulder and/or arm would feel tight. I was just tensing up too much and I was probably leaving my whole arm rigid and moving the whole thing, flapping the hand a great distance away from the strings too. That meant: tiring, very imprecise, noisy... As I got better, my movement started to get restricted more and more to my hand alone, to the wrist. I'm still nowhere as economic and smooth with my wrist action (shut up, you in the back) as I should... but it's a lot better and the sooner you focus on that, the faster you'll get better at it.

[quote name='mr zed' timestamp='1480376963' post='3183961'] Anyone got any tips as to the best eq settings? Also neck or bridge pickup or a combination? Whenever I try the technique it just sounds awful. Ta very muchly. [/quote] Pretty much whatever your normal tone is. I see many suggesting a scooped sound. That sounds good alone, but in a band context it'll just get a succession of bangs and clanks with no substance. You *may* reduce mids a bit if you're using a very mids rich sound, but be careful.

[quote name='Nicko' timestamp='1480351691' post='3183612'] I had to turn down a suggestion of Can't Stop which got me thinking. I think the reason I haven't perservered is because it does't bother me that much, but its a bitch having to say "sorry I cant play it"! [/quote] and that's a good reason to learn, I think. It's a technique that features in a lot of 'popular' songs, so it's good to be able to pull it off, even if you won't use it much. That's why I learnt, and Can't Stop was the first song I had to do It was satisfying to be able to do it and to realise that a lot of slap in many songs is not hard at all. I would not say Flea is the best example to follow regarding slap, for he has done a LOT of fast punky slap that I don't particularly rate. But he has also a good amount of cool slapped basslines, like Can't stop. I ended up playing in a RHCP covers band and it was a bitch going to some of their old stuff like Get up and jump and Black eyed blonde, which are not difficult, only fast... so just a matter of practicing a little. But there were some fun more modern stuff. The thing about those fast slap basslines is... they sound so much better and funkier if you play them more slowly! I love the bassline in "Forget me nots" (Patricia Rushen) which is played, I believe, by Freddie Washington (I think!). It's a lovely mid pace bassline and shows how good a Precision can sound slapped. In fact it's probably the song that turned me onto Precisions. It's a beautiful bassline that is surprisingly hard to get *just right*. It's not fast. There are no complicated fingering issues. It's just the right timing and right feel... That's often my example of a tastefully played slapped bassline. More flashy lines have their place too, but I'd start with something like that to build technique and confidence. In my originals band I use a little slap in a couple of songs, purely for dynamics. They're mostly fingerstyle but one in particular is a bit of a build-up... starts with a moody couple of bars of pulled guitar chords by itself, then another guitar joins in and hi-hats... and it keeps building up, you get some bass drum... eventually the song picks up some pace, the drums become a bit more busy and snare comes in, and finally bass comes in... It's still mid tempo and it keeps going, changing melodically to something a bit more upbeat, and for the chorus I add some slap, and I think it fits very well and adds contrast, especially when it stops and goes back to a calmer verse,, with bass played fingerstyle. I am not a huge fan of slap, nor am I a great slap player, but I think it can be a very cool sound to have in your palette of options. Just don't try to show off... it rarely works unless you really have something special going on. Most people realise you're trying to show off, and they'll call you names and you'll look ridiculous to the musicians in the audience... which reminds me... I need to do something about one song we often end up our gigs with... in the live version we add a long ending that has a lot of slap. It just came up one night, and I only slapped because that's what the singer asked for and I didn't come up with anything interesting... almost just straight octave slap pop changing chords as the progression changes. Which is not necessarily bad... BUT he often has the habit of bringing people's attention to me while I play that as if I were some virtuoso bass player, and it deeply embarrasses me . I have to a) come up with something more interesting and ask him to stop doing that... I am a bass player, don't put the spotlight on me, damn it!