musophilr

[quote name='waynepunkdude' timestamp='1335011370' post='1624691'] If there was ever a reason not to do something. [/quote] Come off it Wayne, Brian is a superb musician.

A drinking companion showed me a flint arrow-head that he dug up in his garden recently. Its outline was almost the dead spit of a Dunlop Jazz-III. One side was gently curved convex-wise, and the other side was obviously more worked so that you could have your thumb on the curved side, and your [i]i[/i] and [i]m[/i] fingers would sit naturally in the hollows made by the flint knapper, either side of the central ridge. Perhaps the flint would wreak havoc with the windings on your strings and since the last time I bought bass strings they were £30 a set I'm not likely to risk the experiment, but I couldn't help wondering if it was really an arrow head that Pete had dug up or whether the artefact was indeed a prehistoric plectrum and noble art of bass playing predates Leo's invention by a few millennia more than we first thought?

What's already been said with just one small caveat: if you really aren't band-ready and you persist in auditioning around, you might get a reputation which could precede you when you really are ready. But if you can keep time and not play any bum notes when you're playing along to your playlist, you're ready!

Just to add this to the other good advice above - gentle stretching exercise helps - open the hand out and push the digits back with your other hand, likewise moving the digit against spring tension. From a fingers curled to palm position open the hand up while you've got a rubber band on the end of the affected digit which you're holding with the other hand so that the digit works against the tension. FWIW I had reason to go to a physio, she worked at a sports centre and IMO she was very capable, knowledgeable, and good at her job. There was one thing she tried that I disagreed with though - acupuncture. I never worked out how sticking a pin into something that already hurts is going to make it hurt less!

Isn't the problem with Rickenbackers that they don't sound like a Jazz?

[quote name='cheddatom' timestamp='1334332926' post='1614792'] I think most people who go to plenty of gigs would probably agree, but as I said I think that's because they've been badly set. [/quote] I'm sure that what sounds good at home won't sound good live. But that is also true of real analogue and "proper" valve amps. So what's the big deal with getting a good live sound out of a modelling amplifier?

FWIW here's my take. I've heard some impressive modelled sounds, and I've also heard some that have that "nasty digital" sound referred to by the OP. I am also the proud owner of amplifiers which are often "modelled" so I know what these things are supposed to sound like. Some of the modelled sounds are at best a good approximation, and are only intended to satisfy the undiscerning/untrained/inexperienced punter's ear. They're good enough for the purpose. This set includes the sounds that are "nasty" and "digital". Then there's the serious attempts to sound like the real thing. A blind A/B test may fool all but the most experienced listener, and such sounds may well be taken as the real thing when mixed up with all the other tracks in a recording (and lets face it most recordings are digital anyway so will include their own contribution to the digital hash). The former may well be straight-out-of-the-box and relatively cheap, the latter may be the result of some expensive engineer's time in the tweaking thereof. I have to say that my opinion of the Line6 backline for live work is not high, from what I've heard of other people using it. While I've got the real thing I'll play through it.

Why don't they just ban boybands?

[quote name='discreet' timestamp='1334054673' post='1610102'] Anything really - so long as it's not accordion or bagpipes. [/quote] I've often fancied flute, but recently tried the recorder again (after 40 odd years) and ran out of breath fairly quickly! Maybe I'm too old for that.

descant recorder - violin - acoustic guitar - electric guitar - electric bass - keys - what next?

[quote name='Pinball' timestamp='1333960246' post='1608637'] A couple of new songs here, feed back appreciated. [url="http://soundcloud.com/mole-music-1"]http://soundcloud.com/mole-music-1[/url] [/quote] You do come up with some good grooves, don't you. The newer ones sound a bit brighter in terms of the treble content, and when comparing them with older recordings I think it's an improvement. Do you record your vocals in a place where you feel inhibited about giving it some stick, or are you a "I can't shout it hurts my throat" kind of vocalist? Sometimes I think the rockiness of the groove requests a more raucous vocal line. I'm in no position to criticise (you've heard some of the crap I've put on soundcloud!) I just wondered if more raucous vocal would complement the rocky groove?

Slightly OT but isn't it a PITA when someone talks about playing the guitar and then tickles their tummy while doing so? Or wiggles their fingers with palms down at rib height whenever they mention playing piano?

Before I got fat, grey, and bald - looks a lot better than anything taken recently (just found this on another older computer) [IMG]http://i1202.photobucket.com/albums/bb376/musophilr/PR1989.jpg[/IMG]

I liked some but not all of the stuff it was cool to like at school (hard rock, prog rock). Other stuff I liked, and was slagged off as a "teenybopper" for - of this, I've grown out of some of it, whereas the rest I've realised what was good about it although I might not have been able to verbalise the reasons at the time. A few tens of years on, I like even more of the stuff it was cool to like (mainly the prog dept), and a lot of other things besides (jazz, blues, reggae, folk...). But what do I mainly listen to now by choice? 17th century early baroque music.

[quote name='Jayben' timestamp='1333975505' post='1608955'] It's good, as songs go, but not really my cup of tea. Reminds of stuff like the guitar pop bands that were popular in the middle of the last decade or so.. [/quote] I agree with this, to a point. The writing, the performance, and the production are all nicely competent, but I'm glad it doesn't go on for any longer than it does because that drum beat gets on my tits after half the song's length.

does the same to me too

[quote name='AttitudeCastle' timestamp='1333896092' post='1607862'] It's a Bass Guitar is it not? [/quote] We've had that conversation recently. That might have been Leo's intention (point taken from whoever made it so eloquently), but no it isn't, not any more. Its function in a band is nothing to to with that of a guitar, and physically you can't play it like one. It's an electric bass so get used to it!

[quote name='gafbass02' timestamp='1333891581' post='1607786'] When people say 'rift' instead of riff [/quote] +1 And when they say "top string" meaning the bottom string

[quote name='LukeFRC' timestamp='1333819661' post='1607015'] you have bass/drums/keys... start your own band! [/quote] Someone else has commented on this, but I'd like to add: ELP, Atomic Rooster ...

The upside is you've learnt more repertoire and can use it again. I found out I hadn't got the gig with one outfit by seeing they'd placed another ad for a bass player on joinmyband.com the morning after I'd done the audition (for which I'd learned the numbers but some others hadn't).

If the guitarist's rig is in an isolation booth, why not use a Palmer PDI-09 between the amplifier and the speaker? Or, if you can get a Speaker Emulator like the Marshall SE100 which does the same job AND has a power-soak capability you won't even need the isolation booth. How does the guitarist hear himself if he doesn't have the combo as a monitor, and why would a Blues Junior be too loud anyway?

If you have pix of your Marshall gear, post 'em here as a tribute to Jim [IMG]http://i1202.photobucket.com/albums/bb376/musophilr/Plx10340.jpg[/IMG] [IMG]http://i1202.photobucket.com/albums/bb376/musophilr/Plx11508.jpg[/IMG] [IMG]http://i1202.photobucket.com/albums/bb376/musophilr/MkIISuperLead100.jpg[/IMG] [IMG]http://i1202.photobucket.com/albums/bb376/musophilr/MarshallAS50D.jpg[/IMG] [IMG]http://i1202.photobucket.com/albums/bb376/musophilr/Bluesbreaker.jpg[/IMG] [IMG]http://i1202.photobucket.com/albums/bb376/musophilr/1930.jpg[/IMG] [IMG]http://i1202.photobucket.com/albums/bb376/musophilr/PedalboardMkIIIa_3.jpg[/IMG] [IMG]http://i1202.photobucket.com/albums/bb376/musophilr/BassRigEtc.jpg[/IMG]

many years ago, played with a group of "classical" guitarists, did a concert and in one piece we all had to play something with drop-D tuning. Next up was me & a mate playing Vivaldi's Concerto in G for 2 mandolins, transposed to A for guitars. I forgot to retune my E string. Ever since then I have refused to play in anything other than standard tuning.

I was not happy with the BBC's "tribute" to Jim Marshall on the [i]Today[/i] programme. They interviewed a bloke who not only had never met him, but whose only experience of Marshall amplification was standing on stage next to other people who were using it.