grandad

gsgbass, does it sound as good as it looks? And is that tape-wound strings on it?

[quote name='Dad3353' timestamp='1491905751' post='3276291'] Quite, but, whatever the generation, there are those that appreciate 'speed-freaks' and those who prefer a more posed approach. I listen to John Mclaughlin, for instance, but don't think that the frenetic style translates well to bass at all. Hats off for the technical ability, but, to me, completely off the map, musically. Yes, I'm old, but wouldn't have liked this in the '60s or '70s, either (and there were those that tried..!). I would like to have a more dynamically balanced set, as uber-speed becomes tiring quite quickly. Not my taste at all, I'm afraid. [/quote] +1

I've played a few venues who wanted to re-book us but we declined. I remember one particular pub where the drunkeness and general bad behaviour were shocking. My brother, (rhythm guitar), was molested by a young lady who kept feeling his bottom. He couldn't concentrate on his harmonies. Beery-breathed wannabees asking to have a go on your guitar. No stage, young ladies suddenly appearing at your side in the gents and nonchalantly chatting to you about their favourite songs as you take a pee, inebriated punters trying to grab microphones and sing whilst spilling beer over monitors, and much bad language. On the other hand, the one time we tried a showcase at a WMC we were last on, got everyone up dancing and was asked to play on longer as folks were having a good time. All our details were taken with promises of definite bookings in the near future. Never heard a thing back. I think the secret to getting regular work at the venues you want to play at is to have someone hustling for you. Whether it's a band member, manager or agent no matter.

I'm guilty too. I make up my own bass-lines to lots of songs. If they fit and sound good to my ears then I'm happy. To be honest, if I find that an original bass-line feels a bit to busy or to fast for my old fingers I'll simplify it rather than make a cock-up. In the old days we used to play a 45 on 78rpm and pick out the bass-line that way. I remember the first tune I worked out - Walk Don't Run by The Ventures. I later discovered my version wasn't quite their version but stuck with it anyway.

Decided to sell the Hofner Ignition. [url="http://basschat.co.uk/topic/303533-fs-hofner-violin-ignition/page__hl__hofner+__fromsearch__1"]http://basschat.co.u...__fromsearch__1[/url] Keeping the Alden as my 'non-precious' noodling bass.

68, practice twice a week, music club twice a month, gig upwards of once a month.

Here are my 2 shorties. I tend to play these 2 most and neglect my 3 medium scales. Long scales, I own none. [attachment=241998:100_0313.JPG] The Squire Mustang has Labella 760FLMUS flatwounds, a narrow fingerboard, strong pickups and a Precision-ish voice. Weight 8lb. The Alden violin weighs less than 6lb. Rotosound RS77M flats. The output is lower but it has a clearer voice, not as clear as a Hofner but it is a true hollow body with just a support block under the bridge.

Just found this photo gallery: http://www.vintagehofner.co.uk/gallery/gallery2/bas.html

I used EV SX300's and SXA100+ for years and they are very good 12" ABS speakers albeit quite an old design now. Need to tame the top end now and again. I've only used the cheaper Yamaha ABS models, 10" DXR. They are very good so the more more expensive range I imagine to be top notch. It's a big investment so for a working band you need to make the right choice. PMT in Brum will demo their range so Portsmouth should do likewise. My advice is to not make a quick decision but think long and hard about your requirements: . what's going through them at what sort of venue - size & power . is weight and size a concern - storage and transportation. A good set of covers is pretty much essential as is decent quality stands and leads. For powered speakers a pair of 10m IEC leads is handy. I've mis-spent many £'s on PA over the years so hopefully you won't do the same. Some good advice so far, good luck.

I'm 68 yrs old. Starting late in life I did the weekend warrior covers band in pub's and clubs. We improved and did weddings, functions and local music festivals. This spanned about 15 years, (aged 50 - 65), armed with just the rudiments of musical knowledge, that is to say, which key is which fret down the lower end of the fret-board and remembering patterns of notes that fit together. Now it's helping run a fortnightly music club and a weekly practice with 3 accomplished musicians/friends making up a Jazz quartet. We can pick and choose where and when to perform, money being not the object. It is just perfect for me now. The ambitions or rather the things I'd like to achieve musically are to make up for the lost time of the first 50 years of my life before I picked up a musical instrument in earnest. 1. To continue my slow progress improving my music knowledge and skills, particularly reading scores, (this is hard late in life). 2. To play certain favourite tunes of mine with the quartet which I think will sound great as instrumentals. They are: THIS GUY'S IN LOVE, I SAY A LITTLE FOR YOU, HERE THERE AND EVERYWHERE, PENNY LANE, BEGIN THE BEGUINE, MOONLIGHT SERENADE. There's bound to be more in the future. Not big ambitions on the scale of things but for me I'm loving every minute and desperately trying to retain what I learn, (a feature of old age I guess). I practice daily and read endlessly but the musical world seems to get bigger the more you do learn. So, my advice is, it ain't a competition. Set yourself a goal and practice towards it. Then set another one. I am truly grateful to be involved in making music. I've made great friendships, met lots of lovely people and a few nutters. I've played in front of a handful of people and a few hundred people and given pleasure I hope to most. Last year my quartet were joined by 3 other fellow musicians to play at the Guild House festival in Henley in Arden. The venue was the walled garden with food stalls around the outside and families seated on the grass. I don't think I'll better that as a sunny afternoon gig. So no ambition here to do Wembly. I do encourage my grandchildren to play an instrument which they all do. So my retirement ambitions seem to be music, taking the dogs for a walk, mowing the lawn, sorting the caravan out and more music. And of course spending hours on BC waffling away. Retirement, I love it.

It's already been said that it depends on where you are on your musical journey. It's great to hear so many BCers have arrived at a place of contentment, i.e. the pleasure of making music with like-minded colleagues. And I am also such, and it's a great place to be.

I do rate TCE combos, good value and spectracomp an excellent 1 Knob effect. With a built in tuner and lightweight they are very easy/convenient to use.

A well written article: http://www.rollingstone.com/music/features/peter-guralnick-on-why-chuck-berry-is-greater-than-you-think-w443396

[url="https://twitter.com/stephenking"]https://twitter.com/stephenking[/url] - I like that line too, "The coolerator was crammed with TV diners and ginger ale". What's your favourite Chuck Berry line?

Best of luck. [url="http://www.bassplayer.com/gear/1164/flat-world-a-roundup-of-flatwound-strings/57888"]http://www.bassplaye...d-strings/57888[/url]

One of the things I like about Chuck's songs, and many of other's of that time, is the poetry. The telling of a simple story in rhyme set to music. And the humour and good nature/heartbreak is very everyday life that is easily related to and always brings a smile to my face. I agree with many comments here that on the surface though quite simple tunes it is the subtle differences between them that give each it's own appeal. Just read up on the difference between shuffle and swing. I think it's something I can recognise and do but hadn't really thought about the difference in musical terms. [url="https://www.studybass.com/lessons/rhythm/shuffle-and-swing-rhythms/"]https://www.studybas...-swing-rhythms/[/url] 4 favourites of mine are, (personal nostalgia), Think It Over - Buddy Holly, You Got Love - Peanuts Wilson, Cut Across Shorty - Eddie Cochran, Teenage Wedding - Chuck Berry.

[quote name='bootleg' timestamp='1489581382' post='3258097'] There is more clarity without the drummer, and I see it as an opportunity to improve, but there is certainly nowhere to hide, just the relentlessness of being the sole time keeper. I have been working on my time, and tbh the drummer often challenges the timekeeping, so that's once less cat to herd. I feel stronger with straight swing, it's the Latin tunes I struggle with, especially those with little harmonic movement. Should I be working on rhythmic ghost notes? How do I drive rhythmic and dynamic variations without the drummer? Should I play more simply or embellish my playing to make it more interesting? [/quote] It depends on the feel of the tune itself. When I first played with a jazz quintet about 18 months ago,(and I came from a 50's/60's/70's covers band), with no formal music training, I could only manage the root note on the bar for most tunes or a root and 5th. And some tunes still only demand just that e.g. Blue Monk. But I persevered and manage to come up with something that fits by listening to the numbers on Youtube or CD, though I often can't follow what the virtuoso bassists are doing as they sound all over the place. But I'm now using the dusty end of the fret-board more and more. Electric bass I think shouldn't necessarily try to imitate an upright. It has it's own voice. For instance at the beginning of 'Moon River' I play open A and let it sustain then E, (upper 5th), and let that ring with a slow tempo. And that complements the trumpet who does a great job with the voice. The rhythm guitar matches me. Starting to learn walking bass lines will be a slow never-ending challenge for me but I'm chuffed to bits when I nail one. So I reckon there's no rule to follow just experiment till something fits and sounds good. Oh, get a good music stand. Please note that my advice is coming from a self-taught who didn't pick up a bass till aged 50+ and as such could be a bit iffy! P.S. For the Latin numbers the Trumpet or Sax will play a tambourine.

[quote name='Wylie' timestamp='1489534156' post='3257803'] My trio of violin, keyboards and bass depends on me to set the time and keep the rhythm steady. This I can do, and I try; the problem is that our driver, the keyboard player, seldom listens, often plunging ahead, speeding up and putting us out of whack. The key is listening, and that seldom happens. No matter how many times we discuss it, it still happens. I don't know if there is a remedy. I don't want to spend my time just playing traffic cop, but if I don't, the music suffers. It's a bitch. [/quote] Same thing here with a lead guitarist that I jam with at my music club. Being mostly a wannabe bedroom player he lacks the experience of playing as a team-member. He can't relax and listen, always ahead of the beat, drives me mad. I think bass players tend to understand the importance of intervals fairly early on. Why do some folks try and cram as many notes into as shorter time as possible I know not. Less is often more.

I play in a jazz quartet with no drummer, just sax, trumpet, rhythm guitar and bass guitar. When the drummer left about 6 mths ago I was apprehensive as to whether I would be able to manage to keep good time and also whether the whole sound of the band would be too thin. There is no where to hide with so few instruments and my concentration has improved and I think my timing. The overall sound is different now, lighter and cleaner. Some tunes wouldn't work without drums but most we seem to adapt. We've played about 1/2 a dozen times in public to favourable response. Think easy-listening/chill-out/background rather than a show. At my age I do enjoy being seated behind my music stand to rest my bones and aid my memory. Stick with it and enjoy something a bit different, good luck.

[quote name='alyctes' timestamp='1489447277' post='3257111'] I'd like one, when I have the money (haha) and can find one without that hideous rectangular control plate... [/quote] Here's the one. http://fuenfhunderteins.de/brandpages/duesenberg.htm I'd like to pick one of these up 2nd hand. I think they're a bit pricey new.

A number of folks have spoken about getting the "feel" of the song. This is an interesting point and it's something that I've noticed at the music club I help manage. A number of up and coming players are obviously hard at work learning their scales and play note-perfect. What I think comes with time is a confidence and a relaxation which helps get the "feel" of the groove across. And watching folk over time it is noticeable.

And another article: http://www.bluesmusicnow.com/jj20.html