stewblack

One of my favourite places to play last night. No stage, no lighting, squashed in a corner by the door to the toilets, in a pub supposedly in a very rough part of town . But you know what? The people are just great. No pretensions, always welcoming and up for a good time. Sure they will join in on the mic at unexpected moments (a small child even joined in on the keys at one point) and yell at you for their favourite songs irrespective of your planned set list. But if you roll with it, you can have a brilliant night. Compulsory rig shot..

I think we're straying from the important points here. These are, in no particular order: prettiness, heft, and, well actually that's it.

Perfect solution. Thank you for your consideration.

Yes I am, you gonna come and watch?

I'm new to reading and writing music, had some lessons a while back with a great tutor but been doing it on my own since. I'll be following with interest.

Excellent I have a couple you can try too!

You know what, I think you may have spotted the flaw.

Mike has spoken. You can have a bash on mine at the next bash mate.

"I THINK/hope I'll run out of GAS" I had gone months without so much as looking at another bass, convinced myself that I must be cured now, so idly began to browse...

I went for the cherry burst for this very reason. The black would doubtless be good for metal but I need a lighter more colourful sound.

I approach difficult sections of songs by trying alternate positions on the fretboard until I find the most comfortable way to play it Then, and this is the most important part, always working to a metronome, play that section dead slowly, over and over. Record yourself - even better video yourself so you can really see what you are doing. I play a little game with myself where I have to play the section flawlessly three times in a row before I'm 'allowed' to increase the tempo. Oh and only 20 - 25 minutes at a time then stop for at least 5 minutes, do something totally un bass related before returning. This allows your brain to properly absorb the practice. If you're starting to get worse after a period of time on the same part - stop! Go have a cuppa, look out of the window, meditate, chill. Come back to it refreshed.

Excellent lesson, clear and understandable. Thank you.

You guessed it!

It isn't synthy that's for sure. Although it does have a modulation control which can produce some unusual sounds, I think it's a very clean octave. I put some sound samples up on another thread. https://www.basschat.co.uk/topic/302205-if-you-could-only-choose-one-octave-pedal/?do=findComment&comment=3928264

Lying in bed reading this, a glance to my right...

I love the orange glow from my MOSFET Veyron. It's only window dressing but there's nothing wrong with that. Sounds pretty darned good too. Shoulder and back playing up so the Veyron is picking up a bit of work right now. Dare not risk the all valve or the Trace bi-amp with a dodgy back.

I cannot recommend the Joyo XVI highly enough. Within budget and its a lovely piece of kit.

Didn't the one they sold before have a hole? Sure I saw a photo with a hole top half of the body.

It's absolutely beautiful and I'll do a proper review when it arrives.

Superb instruments. Congrats, patience rewarded - nice one!

Because some form of alchemy takes place when a bass or guitar is made. Two Fender Precisions, essentially the same instrument, can both appeal to a player who already has one. Change the colour or the shape and you have something no one can resist. What oboe did your wife's hero play? Does someone make a copy of it with her hero's signature on it? No probably not but I can have a pink Bruce Thomas, a mirrored Phil Lynott an OLP Tony Levin a ric like Foxton, a pbass like Jamerson. And on and on.

Of course yes! The only debate was how much other stuff I might buy to take advantage of the free postage 🤦🏼‍♂️🤦🏼‍♂️🤦🏼‍♂️

Finally finished mapping out this amazing Joe Long bassline. Been finding out more about Joe as I'd not previously heard of him. Seems he caught a break when asked to join what he described as 'the biggest band in the world' but being a decent bloke said he would need to work his notice with his current band before he could join Frankie and the boys! What a guy! Fearing he'd blown the gig he was pleasantly surprised when they got back to him evidently impressed with his attitude - especially in light of the sudden departure of their previous bass player. Joe went from non musician to self taught sometime bassist to member of the New York Philharmonic, when an accident and serious hand injury intervened. Although right handed he played his first electric bass upside down because he could barely use his left hand (the shop had no lefties but Joe isn't the kind to be easily dissuaded). Before he knew it Joe was off with the rest of the Four Seasons touring the States with Frank Sinatra. 'I got to hang out with him, got to drink with him, got to party with him - he called me Joey' he told an interviewer, and when asked what did you call him? 'Mr Sinatra' he laughed. The song features on the album Chameleon and wasn't a hit until picked up by the Northern Soul crowd three years after its original release. It's a great album, check out Sun Country from the samre LP if you want to hear Joe laying down a seriously funky groove. Anyway here is my best attempt at a transcription of the song and a recording of me playing the line slowed to 140bpm to facilitate easier learning. Enjoy!

Yeah! Love P&R

Of the many things I love about Basschat, discovering great lines in tunes I otherwise probably wouldn't listen to is high up the list. Thank you so much