Japhet

I'm not a fan of the band or the music, but I always think of Richie Sambora's solo on Bon Jovi's Keep the Faith as the 'perfect' solo for the song. Just a very well crafted piece of music IMO. Solo starts at about 3.00. [url="http://www.youtube.com/watch?v=eZQyVUTcpM4"]http://www.youtube.com/watch?v=eZQyVUTcpM4[/url] For sheer brilliance I'd go for Stevie Ray Vaughan; Riviera Paradise. I will NEVER get tired of hearing this. [url="http://www.youtube.com/watch?v=gVoDVyMY3m4"]http://www.youtube.com/watch?v=gVoDVyMY3m4[/url]

When I had a SMX head I would set the input using the left hand control according to the green amber and red lights. I would have it so that during normal playing the amber light would be on mostly. Green light denotes too weak a signal and the red light denotes that the signal is clipping.Once you've done this you can set output volume with the right hand control to whatever you want. I also used one of the pre-shapes to get a decent tone and would then adjust the EQ according to the venue. The compressor on my amp was pretty good too but you need to set that up at gig volume to get what you want in my experience.

Can't sing and play unless it's a very simple bass part. With any type of harmony bass part I can only sing what I play or play what I sing. Can't answer the simplest question whilst playing either, and would dearly love to be able to tell the drummer to stop slowing down. Have ni idea how people like Mark King can do what they do.

To me, Pino is always tasteful and sympathetic to whoever he plays with. Never overdoes it but comes out with some fabulous stuff at the same time. Apart from the dosh, I can't think of a single reason why he would want to be in The Who. There, I've said it. Also, check out Derek Trucks with Susan Tedeschi (Mrs. Trucks) in the Tedeschi Trucks Band or with Bela Fleck or Warren Haynes and Govt. Mule. I've never heard a slide player with so much expression. Fantastic.

I use a Streamliner 600 into either a TechSoundsystems 2x12 or a Barefaced Compact. I can't imagine why you would EVER need 900 watts. It's almost impossible to get a bad sound out of it and the EQ is simple to use. Because it sounds pretty good however you set it up it comes into its own when you play venues with dodgy accoustics. You can tailor in what you need without killing the tone.

That was me before I discovered Basschat. Now I have stuff everywhere.

I moved from a Trace GP12SMX to a Genz Streamliner because I like the 'fat' sound of old Trace stuff and the Streamliner fits the bill. I wouldn't call it 'hi fi' at all. I'd say the Shuttle is 'hi'fi'. No onboard compressor though.

Not my thing really but Michael Mannring knows his way round the fretboard.

[quote name='Lord Sausage' timestamp='1363721382' post='2016591'] Not much mention of Jaco around here! Is he Passe ! [/quote] Last I heard Jaco was no longer slinging his gun.

As Wally8 says, if you're limited to rehearsal time it's very difficult to get original material up to speed. With covers, rehearsal time is for polishing up, not trying to work out what the songwriter wants to hear. I've played in an originals band with a phenominal songwriter and some superb musicians. It was fun, but bloody hard work. We'd often hear "Play Mustang Sally!" from the crowd. We then played a load of that stuff for funtions and stuff and the band soon folded even though we were earning. I now play in a covers band where we play the more obscure stuff which is still loved and appreciated by many. We often get thanked fro playing songs people haven't heard for years. Some of the stuff is vastly different to the original material - it's the best of both worlds really.

In my experience, if you can just about hear yourself your volume is about right. Having said that, the 2 cabs I now use in different situations are a TechSoundsystems 2x12 or a Barefaced Compact. Both cabs have very good sound dispersal and cut through the mix so you can hear yourself much better. It also depends how much of your bass frequency is being nicked by other instruments, meaning you need to turn up to be heard in the mix.

My advice to any bassist starting out is to concentrate on being solid and reliable. You are the bands metronome - getting flash and losing the tempo or place in the song is a complete no no. Get more adventurous when you can play everything with your eyes shut. Punters won't be listening to you anyway. With the set list, start and finish on a good'un. Try to avoid playing songs that sound similar or are in the same key next to each other. Good luck with whatever project you end up being a part of.

I think she is a very fine bassist. Live music is 'showbiz' and she brings more to the 'show' than bass playing alone. Not being sexist - that's just the way it is. She obviously caught Jeff Beck's eye.

2 great bass players on the same track; Meshell NdegeOcello and david Dyson. Show me something funkier than this! [url="http://www.youtube.com/watch?v=2OiBzYckcYI"]http://www.youtube.com/watch?v=2OiBzYckcYI[/url]

Anyone mentioned Jimmy Dewar (RIP) from Robin Trower's band?

Haven't read the entire thread so apologies if already mentioned; Oteil Burbidge, Lee Sklar, Phil Lynott, Tyrone Porter. Trevor Bolder with his Bowie stuff inspired me to take up the bass.

Was going to recommend the Ashdown Electric Blue but see gjones has already done so. Can be bought for peanuts and if you move onto bigger and better stuff it would make a decent practice/rehearsal unit. Downside is the poor resale value but for what you pay you could pretty much give one away without losing much.

Line 6 LD15. Good little combo and surprisingly loud. Designed for bass, but guitarist in my band uses one to work stuff out at home (and loves it). Has all sorts of effects and gizmos on it too.

It's a bit like asking 'what is a good car?' Depends whether you want to race round a track, pull a trailer full of horses, go on a family camping holiday etc.... To me, bad bassists are the ones who try to be flash when they can't keep time or have no appreciation of what their role in the band or their place in the mix is.

Whatever way you look at it MK was/is a massively influential bass player. Early Level 42 music certainly made me sit up and listen. I think I'm right in saying that he originally wanted to be the bands drummer but moved to the bass when nobody else would do it. His style has now become a bit of a cliche, but that's not his fault - the world seems to be full of (mostly sub-standard) MK imitators. To be able to sing and play his basslines at the same time is a quite phenominal talent, and if he's as nice a bloke as so many people say, he deserves all the credit he can get.

I'm no expert in music formats, but I reckon a lot of stuff is produced specifically for mp3 now, which is considerably dumbed down from previous formats. Maybe this has something to do with it.

[url="http://www.youtube.com/watch?v=fMNzF9i8e4k"]http://www.youtube.com/watch?v=fMNzF9i8e4k[/url]

Played through a Vanderkley MNT1x12 recently and was very, very impressed. Really good sound dispersal so you can hear yourself and plenty of grunt. I'm sure 2 of 'em would be stonking. try em out if your headed to Bass Direct - don't think you'll be disappointed.

+1 for the Streamliner 600. I play in a loud band with a loud drummer and have never had it at 50%. IMHO, if you want more volume than this provides, you need to be DI'ing into the desk, or risk blowing your eardrums out! Has anyone out there actually had to push a 900?