Bilbo

Let's be clear. I KNOW that Jazz standards are a bit stinky poo and if I had to never play another one it would be fine by me. But playing Jazz standards is completely different to reproducing a Rush set. When I play Autumn Leave (which I try REALLY hard not to), I am not thinking 'what did Miles play'?, 'have I got the right gear'? 'is my hair 'authentic'? The only 'tribute' is to the concept of playing Jazz standards (which I refer to as 'the increasingly tedious American Songbook') and the tune's core chord sequence. Everything else is up for grabs (actually, thinking about it, even the chord sequence sometimes! A passing reference to the melody is all you need really ). Why? That's easy. Because most Jazz 'bands' are scratch bands made up of people who have never met before let alone rehearsed so it's a means of getting a credible set together without the need to read or rehearse. When players know each other and can play together a lot, the standards quickly ebb away in favour of more and more eclectic stuff. The concept of Jazz standards is, for me, a manifestation of the chronic unpopularity of Jazz and the impossibility of funding anything in the way of a rehearsal or composition (one guitarist friend of mine once said 'I like Jazz but it's just not worth the amount of work involved'. If you do it for the money, you don't do it. It's not often that three player who have never met before turn up and say 'does anyone know La Villa Strangiato'?

I don't have any opinions about people who are entertained by Rush tribute bands. My point was simply that, whilst I can accept the amount of work involved to achieve the result and accept there is a lot of skill involved, I cannot but wonder what that amount of effort may have achieved were it focussed on something original instead of a tribute. I think it's like these pencil drawings that look like black and white photos. Superb technique but why?

Hondo II Precision copy in black. Tried to turn it into a fretless but failed. Got skipped.

So did Love Island...

Agreed

The term you are looking for is conflicted. Someone offered me money to play with some bloody marvellous musicians and I bloody well agreed to do it. I hate myself.

Although, that does sound lush.

That's interesting. The description talks about 'acoustically transparent' adhesive. I suspect the stuff I used was not transparent so I have effectively put a block on the signal. That might explain things. I will get some of that and try it before I go and spend £600 on a DPA 4099B!!

This pick up doesn't use the wing slots, it is the one with piezo pads stuck on the underside of the bridge. I think the problem I have is that the adhesive that is sticking the pads onto the bridge is not providing a solid enough seal to allow for a string signal. The adhesive pads provided when you first buy the pick up cannot be re-used so I had to just glue them on but the glue used appears to interrupt the signal rather than facilitate it's passage. That's the only explanation I can find for the difference between the sound I had before the bridge was changed and the sound I have now (I have to put ALL the bass on the Clarus and roll off ALL of the mid-range and top and it STILL doesn't have the warmth I need.

That's not what I struggle with, WoT. it's the 'tribute' thing (you all know I struggle with this - I was talking to a guy just yesterday who I respect but who plays in three or four top quality tribute acts. My idea of hell; his idea of making a living). I just don't get why people put that much effort into reproducing something that is already out there. I feel the same way about Jazz tributes (and anyone who knows me personally will know that). 'X plays the music of Horace Silver', 'Y plays the music of Miles Davis' etc. I play with some of these things as a dep occasionally (got a Miles one coming up soon) but these are 'read the dots' gigs so you just turn up and play. To prepare and rehearse a whole evening's music as a note by note reproduction/soundalike project, even to the point of the bass player using the same basses, playing the same keyboards and having the same hair, always strikes me as clever, even admirable, but, in the end, utterly, utterly ridiculous. As has been said, however, this is nothing more than an opinion and there is a small chance, just a small one, that Felixstowe's third best bass player may be completely full of doo doo.

Hey, guys. I have a problem you may be able to help me with. I have just had a new adjustable bridge fitted which has made my bass much easier to play but, an unforeseen problem has arisen in that the pick up I was using, a K&K Double Big Twin, now makes a previously lush sounding bass sound bloody awful (thin, boxy and generally nasty)!! I think it is because the pads that are stuck to the bridge are not getting a proper connection so the signal is weak and the eq possibilities limited (I use AI Clarus so it's not the amp/cab). I have come to the conclusion that I need a new pick up arrangement so wanted some advice. The sound I am looking for is Charlie Haden rather than Ron Carter - think wood rather than string/bridge; woody rather than bright. Any recommendations/experiences with the other pick ups on the market. Budget is 'I can't afford anything but will find a way'!!

To paraphrase someone else on here.... Impressive and Pointless

I see what you did there (and what I did a fortnight ago!!). Bloody spellcheckers.

I run my own Jazz gig in Felixstowe so get to play with Gods.

I play in an acoustic duo with my Wal. I am thinking this will work. Also about to record a CD with a prog band.

Another surprise birthday present from Mrs. Baggins. Sounds really nice through my Acoustic Image set up but is also surprisingly loud acoustically. What I love about these Harley Bentons is that they allow you to try things conceptually without taking to many risks. I have all sorts of ideas for this instrument.

My home studio, Bag End....

Pat Metheny Bright Size Life Brand X Product NOVA Vimana Jaco

To be fair, commercially speaking, tab and score probably doubles the potential sales. Cannot blame the publisher for that decision.

I am a 40 year Yes fan and would have to give my vote to the CTTE line-up but, for me, THE defining characteristic of Yes was always Jon Anderson. Listening to JA's solo albums suggests to me that his role was central to the Yes aesthetic. I love it all, though, and think that bad Yes is better than most other Prog/Rock/Pop. Rabin was, for me, too conventional a player to interest me and his involvement in Yes could have been any session guy. But it's all good. I love Tormato, Drama, Relayer, Tales of Top: all of it.

I have got it sorted, thanks. £225!!

I have provided the bridge so it is fitting only Inc cutting to size.

I have just been quoted £300-350 by a luthier for this job. Can anyone confirm whether this is competitive?

Tuesdays. You can use them on Tuesdays.