stewblack

I have a bass. It has 2 pups and 3 knobs. VVT as one might imagine. Knob 1 behaves as expected affecting the volume of pup 1. Knob 3 does its job altering tone of either pup. Here comes the fun. Knob 2 on its own brings both pups into play simultaneously. Not just pup 2 as one might expect. To get pup 2 on its own both knobs 1 and 2 need to be up. Help!

Was killing me but instead of relief I feel awful. Anxious, stressed, hate this so much. Something had to give I've taken on too much and this band was eating my time and feeding my stress. Why does this never get easier? Sorry. Needed doing and I did it. Not a discussion opener just a bit of a whine this really

Certainly not worth arguing about. I'm sorry I didn't explain myself well enough.

OK let me clarify. When I first heard this stuff it sounded mind blowingly heavy powerful, noisy and hard edged. Over the years as music has pushed those boundaries ever farther the context has changed. It now sounds comparatively polite, melodic and, yes, quaint. It has lost that crazy edge with the passing of time. This does not insult, devalue or belittle the music in any way. It has ever been thus. Cutting edge becomes mainstream, wild becomes tame. My dad told me how his father dismissed the music he (my dad) loved as "just a noise" and "not even music". It was Bing Crosby.

For me it's Hi-Hat & snare side because that's the way the drummer faces. Generally. so we're able to see each other but playing cramped and away from the singer is my main reason for hating being stage right. I love to interact with the singers in my bands

Yes! I always do a swing test just before we start to see what I'm going to hit

I was surprised when my keyboard player set up on the wrong side of the stage the other day. He then said he preferred to be next to me when we play. Well I always play stage left I said. Do you he said. Yes I do I said. (the dialogue is always this riveting). I tell people I stand stage left because that's hi hat and snare side so I can make easy eye contact with the drummer and so I don't clobber the singer with my headstock every two minutes.. But now I wonder if it's just a habit/ritual /superstition/OCD thing. What about you? Do you even care?

Interesting how almost quaint they sound now! Metal just got a lot nastier in the following decades I suppose. I was a little young for Purple, they were big among the older kids at school but I still have a soft spot for them.

Yep, I'm knocking on the door of 60 too Blue. No illusions about earning a fortune but I am doing the thing I love.

You and I should only ever do business with one another! i have a similar ability. I just pay up and months later have to discount heavily before I can sell!

Too true Blue. I formed a band nearly two years ago and we have racked up precisely two gigs. I joined a band a couple of months ago and gig every weekend with them. The first band holds the promise of riches the second actually brings in money. Not a lot but I can't spend promises.

Is a fair point, but of course available budget comes into play as well. I'm a working musician so I have a very limited budget. Having said that if I spent less of my money on instruments and amplification, when I clearly have plenty of both already, I could buy the best strings ever made. Perhaps I need to look closely at my priorities.

I like them. But it is down to personal taste. If you were closer you could have a noodle and see

Cheers. I found this on a youtube search the guy is very good at explaining his methods.

Thanks RB. I assumed if it was that the buzz would stop when I touched a metal part. is this not so?

Hey guys / gals , I guess we're all familiar with buzzy guitars that stop buzzing when we touch the strings. But what do you make of a bass which buzzes quietly all the time bit most loudly when I touch the strings?

My rock band would be anchored by Brian Downey and John Entwistle, Malcolm Young and Rick Parffit chugging away on the six strings with Brian May taking care of solos George Michael singing.

Elvis Costello would write the songs, Stewart Copeland on drums, Norman Watt-Roy on bass, Jules Holland piano, Smokey Robinson and Carla Thomas on vocals, Tommy Tedesco on guitar.

OK, Friday night in a pub in Swindon. Don't know what possessed me but I decided to go for two 15" Trace Cabs and my 500 watt Trace head, Ric copy I just bought straight in no effects. The bass needed a set up, the room had a boom to it I wrestled with all night and the crowd was whizzed and indifferent. But I had fun. Last night, Sunday, early start in one of my local boozers. Originals band with couple of Pogues covers thrown in. Oh and a stomping version of Country Roads which went down a storm. Ampeg, 2 Barefaced 15", Bruce Thomas Profile. Stunning sound. Bass Nirvana.