paul, the

[quote name='OldGit' post='159048' date='Mar 17 2008, 05:13 PM']Heads up! At Lidl From 24th March Heavy Duty Trolley, Folds up, Works well £17.99 "This robust trolley can carry up to 120kg Aluminium and steel frame with rubber wheels "[/quote] Fantastic! My Lidl sack truck dance has finally worked.

Do you think the smoking ban will stop white instruments going "vintage white"? ps tort. ([b]Fender[/b], brown tort)

Welcome along Kevin People can get funny about sale threads, and understandably so. A personable introduction goes a long way to making prospective buyers feel at ease. Best of luck moving the gear on and finding new equipment for yourself. The Corvette $$ is a favourite, but watch out for weight and neck chunkiness. Perhaps an MM SR5? I say stick with your grabber Loads of amp stuff comes up on BC, only a matter of time. Checked out your site too. Very profesh. paul.

Sky 0203

Welcome to the forum Steven Are [url="http://www.google.co.uk/search?client=firefox-a&rls=org.mozilla%3Aen-US%3Aofficial&channel=s&hl=en&q=filetype%3Apdf+blues.bass&meta=&btnG=Google+Search"]these searches[/url] of any use? Some blues bass riffs here: [url="http://www.torvund.net/guitar/index.php?page=bluesguitar"]http://www.torvund.net/guitar/index.php?page=bluesguitar[/url] Blues lines in F [url="http://www.music.sc.edu/ea/Jazz/Improv/219/244BassLinesF.pdf"]http://www.music.sc.edu/ea/Jazz/Improv/219/244BassLinesF.pdf[/url] [url="http://rapidshare.com/files/9885299/Famous_Blues_Bass_Lines.pdf"]FAMOUS BLUES BASSLINES[/url] [url="http://rapidshare.com/files/32012658/Keith_Rosier_-_Jump_n_Blues_Bass.pdf"]Jump 'n' blues bass[/url] [url="http://rapidshare.com/files/30721700/The_Real_Book_Of_Blues.pdf"]Blues real book[/url] My apologies if any of the links are broken. paul.

It looks/sounds like you guys had a great time. It's great to see pics! That black/tort P is beautiful; ngh's I presume? What picguard does it have? I have to get covers for my P.

[quote name='mcgraham' post='158307' date='Mar 16 2008, 08:41 AM']I see your argument but don't quite agree with everything...[/quote] I agree with all this and was thinking about some of it this morning. It brings to light the bassists role again too. Great post, as always, Mark.

'though impractical right now, I'd love an epi eb3.

Welcome to BC Steve. You'll get your Ric yet.

Who was the band on the culture show last week? It seemed a rare bit of honest 'indie' to my untrained ears.

[quote name='jakesbass' post='158258' date='Mar 15 2008, 11:49 PM']While I would absolutely never attempt to suggest that you are wrong in your choices and taste (for obvious reasons) I do think you are slighly underestimating the musicality of quite a large number of really great musicians by lumping them in together as 'session players'. and at the same time I feel that you give them short shrift, by dismissing their output in the way that you appear so to do. They are people too, and even if their workload is more akin to that of industry (although to my mind I'm not sure it is) I don't think that that would necessarily preclude them from playing with great feeling, sincerity and intensity. [/quote] Yes, sorry, I realised that. I was just trying to get something out quickly before I forgot it all. It does go to reinforcing my point about the hurry and commercialism. I think someone brought up with that (concentrated) will always do a better job. I think session players (and again, I use the term clumsily) are a realistic practicality. The hard work should be respected, but I rarely see the beauty in it.

[quote name='peted' post='158041' date='Mar 15 2008, 04:20 PM']They can sound a little fuller and warmer when you use the tube pre-amp, but they certainly are not the traditional definition of 'thump'. You can fake the thumpy sound by dialling in the bass and taking all the treble off, but you're better off getting an Ashdown ABM if it's thump you're after.[/quote] Thought as much. Thanks for replying, Pete.

good call on 'one of the' TFM

Did anyone else see the program on Irish music on BBC4 last night? They were talking about trying instill traditional values and promote distinct culture in order to ease the partition with the UK through pride. The politicians were looking for a figurehead for Irish music and auditioning fiddlers. On auditioning, they kept trying to get the musicians to perform flawlessly without 'mistakes'; akin to classical music. They didn't understand that it was the imperfectly perfect poor intonation that was so important for getting the right sound. To make relevance, it shows the importance of the connection with the culture behind the music and the understanding developed through a long-term association with it. This is where the creativity is born too. And the technical improvement comes from the joy of repetition from playing with others.

Anyway, I can't help but feel a lack of connection with the music with session players. I don't think it's possible to take on the meaning of the music and perform it with a sincerity someone who was brought up with the music/background would, not to mention genuine unity between musicians. It always feels emulated. I guess I don't agree with it. I'd rather take the unrefined charms of traditional music to the over-produced stuff. Session work/repetitive technical exercises have so many connotations with 'industry' to me, over the love of music itself. I rarely want to listen to it because I can't connect with it. It is, so often, an artificial marginalisation and profiteering of the past's pure music.

...here's good too.

+1 to killers and Arctic Monkeys. I think the bassists stood out. Is it enough when we're eight years in?

Are you sure the frets aren't invisible? If you can feel them there, you probably just can't see them I recommend taking the bass to a luthier to remove the invisible frets.

That's very attractive too, Kev. It's like baby blue with tort on a P; I wouldn't have thought it would work, but it's one of my favourite colour combinations now.

All the clips I've heard of these amps have been very trebly/aggressive (transient attack etc.). It's very professional sounding, but how do they perform for warmth and thump?

[quote name='MissPenguin' post='157899' date='Mar 15 2008, 11:13 AM'][/quote] I think you're Aria's about to get swallowed. --- allighatt0r, you're Cort is a very sexy bass. I hadn't seen one with a tort guard before.

Welcome to BC If you're local, you may be able to have my acoustic if my old school doesn't want it. paul.

It's beautiful. I do love a personal bass. Where do people get their ideas for this sort of thing? Is it planned out or do new ideas just pop in their heads? My visual creativity is zilch .

I think it's by using your ear and trial and error that gives the best results. I think in a musical culture (most forms of folk), this kind of solid playing and a readily supply of masters to learn from throughout development breeds the best results. Gypsy jazz is a great example. --- I'm aware that it's different for session musicians who are required to perform many genres at a high level, but that doesn't seem natural to me.

What an interesting thread! The technical ability/creativity argument is a very intriguing one. I'm attempted to tell people to just watch Educating Rita. But I can't help but think that there's so many folk musicians that are at the height of musicality, substance and feel, yet have very little technical/theory training. I'm definitely in two minds about this, and I think a lot depends on development.