paul_5

I went through a similar thing a while ago. I made it more interesting by making myself play each note in different position going up and coming down. Also ascending and descending in 4ths (GABC, ABCD, BCDE etc). I took it further by adding in some RH techniques too, to keep all my piggies wriggling. Now I'm awesome.

I remember this when it first came out, lovely arrangement, perfect for a quiet evening's practice. Also this piece taught me nearly everything I know about bass chords up the dusty end. Win. Thanks for posting, I'll take a stroll down memory lane tonight.

Mix through monitor speakers. Absolutely monitor speakers. Some bass frequencies have a wavelength of a couple of feet. You simply won't be able to appreciate ALL of the sound when the speakers are an inch from your ear canal... So to sum up, monitors.

Didn't we have one of these yesterday? Long story short - a BCer tried running his Orange Terror Bass Head without a cab and turned it into a smoke machine

Big stick with nails in!

Generally if I'm doing covers stuff then I'll expect to be paid - if only to compensate me for having to yawn through 'Mustang Sally, Johnny B Goode' et al for the millionth time. I used to be involved in quite a healthy originals band, and we were prepared to play for costs simply to promote our material. I'm in a fortunate position in that I don't have to gig three or four times a week to pay the bills anymore, so can be pretty selective with the jobs I take. I will still do stuff for free if the right musicians ask me and it sounds like a laugh. Charity stuff is free (goes without saying), provided that it's a cause that I don't mind being associated with.

Geddy Lee and Billy Sheehan for the rock side of things. John Giblin and Jaco for fretless / melodic loveliness. Charles Mingus for just walking effortlessly through great tune after great tune. Carol Kaye and James Jamerson for showing me that rhythms could be more than just 8ths Les Claypool had a big influence on me too. My moustache is really coming along.

I've had two TE dual band comps, and they worked well enough, but robbed a lot of actual 'bass' from my tone. It got to the point where it sounded more like a shelving EQ than compressor. Now I use rack stuff that's WAY better, and I'm still a bass player, not a baritone guitarist!

I've never regretted buying gear, only selling it. Unless you're desperate for the money, or need to sell to upgrade kit then I'd keep it. You may find yourself thinking "I wish I hadn't sold XXX ten years ago", I know I have.

Tom Sawyer, YYZ - Rush Goodbye Pork Pie Hat - Charles Mingus Black Dog, Heartbreaker, Moby Dick - Led Zep Anything Primus Continuum, Birdland - Jaco Hysteria, Time is running out - Muse Quite a few others too, can't seem to find the time lately though.

The last band I was in wasted 12 months auditioning 'singers'. We had some conservatoire singers turn up too - and they couldn't carry a tune in a bucket. Bottom line, ask around and see who gets recommended, other than that go see other bands and steal the players that you like the sound of

Welcome to the club - Hi five!

+1 for the MXR. having one of these should negate your GAS for a fuzz pedal (Big Muff etc...) as the torch switch does 'fuzz pedal' really rather well. In my experience it isn't that subtle, so if you're looking for a 'gritty Geddy Lee' sound then this might be too much for that. The Ashdown hyperdrives do that really well, as they're much gentler. I've also had some good results with my MXR M80 DI box, that can go fairly extreme too, but the blend control is pretty good at taming that when it all gets too much. There you go, my 2p worth.

I've been listening to Joy Division all week - there's a few humdingers on there (and not in a good way). Peter Hook as a 'solo' bass player? The emperor has no clothes...

Good to have you on board.

1st Bass: a Hohner short scale thing with a P pickup Go To Bass: Blade B15 My Sound: Blade B15

Same here, keep having to log in every time I visit.

Loads of other players use my rig all the time. Mine is 'in situ' at my church, and players plug into that whenever they like. I've had 75 Jazz reissues, new Jazzes, Warwicks and cheaper, copy basses through it, they all sound good. Still think my Blade B15 has a killer sound though. Miked it up for some recordings a while ago and it sings, love it.

I played one live once (and I realise that this is like telling your mates you slept with 'that fat bird', but I'll press on anyway) a long time ago. I was playing my acoustic fretless (Far more attractive to my way of thinking) and a punter handed it to me in the interval. I played it for the encore (two songs) and pretty much hated every minute. There you go.

I had a 5-string one of those back in the day (my first 5 stringer actually), and I loved it. Do it do it do it do it do it....

+1 for his stuff with Marcus Miller. The 'Live and More' album is superb. PG da man!

Another +1 for the Focusrite Sapphire. Good quality, clear preamps with plenty of headroom. Will phantom power condenser mics too. I've also had great results through a MOTU too, but as an all-in-one unit the focusrite has it all - routing software for independent monitor mixes, LED meters etc... great unit.

Joy Division [url="http://www.youtube.com/watch?v=UFRrwBQxjbI&feature=related"]Shadowplay[/url] In fact the 'Unknown Pleasures' album has been doing the rounds this week - but this track in particular.

I used to have a russian Big Muff that ran left to right. That was awesome too. Coincidence?

+1, I've just got an MXR80, and it's sooooo clean. I tried it through the big Genelecs at work today, and it's studio quiet, no background at all - very impressive. The 'distortion' is closer to 'fuzz' though; not the 'drive' that I associate with the Sansamp, but it's switchable and that for me means that it's a more versatile piece of kit. Being able to power it with phantom power from a board is a bonus too.