P-T-P

Yes, choosing songs is always a long, drawn out process. What's amazing is that we've been successful on the back of playing mainly pop, some soul and an occasoinal rock classic, but for some reason, people still come in and say something like, "I heard "Aces High" on the radio the other night, we should do that one."

Actually the more I think about the whole not learning songs thing the more I realise just how unbelievably disrespectful it is.

God where to start... lol [b]Irritants[/b] Guitarist who brings two of exactly the same (not particularly light) amp to every gig and runs both in tandem (i.e. same settings on both, both in use at all times). Utterly pointless beyond ultra-extreme redundancy (get a POD for f***s sake, or use the singer's amp, if needs be, it's just one gig). Oh yeah, and then he's a bugger for skiving loading and someone else will end up carrying them. Singer who hasn't learned words properly to half the songs we do I've recently realised (verses repeated all over the place). Guitarist who can't always be arsed to check his set-up is on quietly and/or starts pulling leads out because something's not working without turning amp off or lowering volume at least. Singer, who has hands free nearly all evening and need only step a couple of metres to get to the mixing desk and is therefore person in best position to make any changes, complaing that his in ear mix - which only he can hear remember - isn't how he wants it! [b]Constant Annoyances[/b] Pick a couple of tunes to learn, make a rehearsal date. Learn all bass parts, get lyrics (e-mail to singer), prepare chord sheet as a guide, maybe get the tabs and check they're correct (e-mail to guitarist). Listen to songs so many times you know them inside out. Turn up to rehearse. Singer needs to download lyrics of the internet again and is only vaguely familiar with the melody of the song. Guitarist has never heard the song before, "Have you got a copy with you?" Proceeds to play along with it 15 seconds into the intro trying to work out chords. Inevitably gets chords right but not quite. Disputes chord sheet already prepared as doesn't fit with melody singer is singing in places. Defeated. [b]Murderous Rage Enducing[/b] Me: I want to check your mic Them: One, t... bit more upper mid or worse Me: I want to check your mic Them: One, t... it sounds sh*t Anyone suddenly deciding to care about something (usually PA related) after having taken no interest in it's use whatsoever for the previous 50 gigs and then barking instructions at me (or sometimes even making polite suggestions can be enough if the suggestion is particularly stupid). This is frequently compunded by them then asking me "Which is the 'x' knob/fader/button." [b]Warm Fuzzy Feelings[/b] For our drummer who is always a pleasure to play with; will have learned his parts when time comes for him to join rehearsals (he won't come to the chord haggling sessions anymore, don't blame him either); always does more than his share of loading and setting up and nearly always gets the drinks in as he's usually set-up first.

Bought a J-Retro from Matthew and it was a great deal, received the J-Retro very well packed and very quickly.

Steve bought my Tone Factor 442. Paid quickly and was a pleasure to deal with. Would happily do so again.

www.basspartsresource.com is a good place to get Fender (and other) replacement pick-ups. Have bought from there before, uick delivery and nice price. Didn't pay customs either which was a bonus, but obviously no guarantee on that front. If you're dropping in replacements on a MIM jazz, it's worth checking the distance between the centres on the mounting screwholes for both pick-ups. The US Fenders have a slightly larger bridge pick-up and most replacement pick-ups follow that convention. Until recently, the MIM pick-ups were both the same size and a set of Bartolinis I got to put in a MIM Jazz V required some reshaping of the routing, not major work or anything, but I had to sand away a significant mm or two of the polyester laqcuer to be able to fit them. Probably wise to check measurements on any of the cheaper basses before dropping cash on pick-ups that won't fit. While you're at it, it's probably worthwhile spending an extra £20 or so on some decent audio taper pots so you can get the most from those pick-ups.

Yeah, as others have said. TRB5IIF was Japan made the TRB1005F is Korean made. The QC of the Korean ones is excellent though, I've had both a TRB1005 and TRB1006 and there was nothing at all I could fault about them, think Lakland Skyline quality. I believe all the electronics gubbins and hardware are essentially the same. It was presumably a strategic move on Yamaha's part to enable them to offer a higher wood spec (quilted maple top) at a lower price. For the extra £150 you get a crafter in Japan sticker instead of a crafted in Korea sticker. Pete

Thanks for the info Frank. It's an option I'm considering so good to know it works the way I imagined it would work.

And even more specifically, anyone ever tried a pair of them together but stacked vertically?

This is such a personal issue it's hard for anyone to give accurate advice beyond their own experiences. For me, I found any number of things contribute to left hand comfort, not simply neck dimensions. The way the bass sits on a strap, the amount of neck dive (if any), the amount of friction between your strap and shirt and so on. After a good three years of trying to find the perfect 4 string jazz and continually coming up with the same cramping problem, I've pretty much given up on them. I have particularly small hands so had always assumed the narrower nut and string spacing ona jazz would naturally make it ideal for me. Every jazz I had though gave me problems, moreso when using on a strap than when sat down. It's only through much trial and error that I've realised that the jazz bass neck dimensions, when I wear the bass on a strap, cause my left hand to grip the neck too much which wasn't so much of an issue when seated because my right arm would act as an anchor leaving left hand free to just fret notes rather than hold the neck. I also don't get along to great with necks that are super wide - TRB6 - or those that have a particularly pronounced shoulder to them (this kinda shape \___/ though of course a bit more rounded) - TRB6, Status 4. The best 4 string neck I've ever played was a Status MusicMan replacement job, which felt just great. Looking back, I also got on much better with P-Bass necks than I did with jazz basses. I find Lakland 5 string necks feel just right too, and Fender 5s ain't bad, though I dislike the bridge spacing on the latter. I think it's a bit like cavity backed irons in golf compared to the traditional blade type irons. The traditional ones have a sweet spot about the size of a match head, the cavity backed ones have one about the size of a 5p piece and are more forgiving to swings with a natural fade/draw as a result. The wider necks probably have a larger "sweet spot" where your thumb can sit comfortably whereas on a narrower neck, you're more confined and as a result need to keep your left hand technique that much more in check to avoid getting into a position that is uncomfortable. Don't know if that helps at all, but it could be you have similar tastes to me which I've come to discern as being fairly wide at the nut, with a gently sloping curve to the profile without being particularly deep.

Setting aside the fact the guy was a dick for his attitude, what I'd like to know is, what was his reference point for tuning? Or does he think that he has perfect (non-relative) pitch? If he was getting his reference from someone else, who probably used tuner, then he's an even bigger dick. On the other hand, being able to tune by ear is a a useful skill to try and develop if you can 'cause if there's an acoustic piano on stage that's gonna be used it's probably wise to tune to that.

Sexy mofo of a bass.

Yeah, the rhythm on Maggie May is a bit loud on the mp3s, not so much on the CD copy though, but was thinking of taking it down a smidge. I think you're right on the compression pumping, certainly on Keep on Running, the hi-hats in particular noticeably jump up and down depending on what else is going down. I'm also thinking of bumping up the vocals across the board by a wee smidge. Agreed on the drum parts, at the end of the day they are all synthetic in one way or another! Should have spent more time thinking about them before we recorded. Thanks for the compliments on the bass playing, I was very pleased with the way it came out. And thanks also for taking the time to listen and give some thoughts, I appreciate it.