peteb

[quote name='BigRedX' timestamp='1342002042' post='1727662'] IMO the music that you choose to play is just as important as your ability on your chosen instrument(s). As a band RHCP don't really do anything for me so while Flea may or may not be a fantastic bass player because I don't like the music he plays I find it hard to appreciate his playing. Also I'm a great believer in the importance of the song and the arrangement over the instrumental prowess of the individual musicians. To me if as a musician you are more noticed that the songs you are playing that means either the songs themselves are weak, or you are over-playing. Either way IMO you've failed as a musician. [/quote] But surely the logical extension of that is saying that anyone who achieves recognition as being a great player must, therefore, be rubbish! I'm all for great songs but (IMO) there must be room for outstanding musicians as well......

[quote name='Rick's Fine '52' timestamp='1342000291' post='1727609'] I'm actually yet to hear anyone claim that a design fault is evidence of an instruments superiority, especially when talking about fenders, why would someone claim that? Having said that, if you're talking about BBOT bridges, then it clearly isnt a design issue, as they still make fenders with them, and as I've said, I've never experienced a single problem with them. If you're talkinga bout the nut access location, then yes, not the best design as i raised earlier, but it also doesnt make it superior. I think I'm struggling to see your point in the context of this thread, which is probably me, missing something. [/quote] What I'm trying to say is that the BBOT is an outdated design from 50+ years ago, which Leo never used on any of his later creations (he went for a hi mass one). Fender still use this outdated concept because the market will not let them move onto a better design! Part of the beauty of the original fender design is that is easy to upgrade if you want. So, if you don't like the bridge it's very simple to bolt on a new one, it's easy to change pick-ups (unlike a rick, alembic, warwick, etc thru this partly down to design and partly due to popularity creating a market for aftermarket upgraded parts).......

[quote name='Fat Rich' timestamp='1341995452' post='1727486'] Couldn't agree more which is why my other basses are carbon fibre, active, fancy EQ, high mass monsters. Some people seem to hate them because they're modern when in fact they were designed a little over 30 years ago. Unfortunately a lot of people these days seem to want that "classic Fender sound" more often than not, and an unmodified Fender is one of the best ways to give them that. Plus image seems to be more important these days, playing something a bit different seems to be frowned upon in a lot of genres. [/quote] Don't get me wrong, I think that the basic fender concept & sound is still great and that image wise it works for many genres. I own a fender and a couple of fender type basses, but I have upgraded the bridge, dropped in better pick-ups and an active circuit! The only one I have kept 'straight' is a heavily relic'd Nash jazz.....

[quote name='chris_b' timestamp='1341909384' post='1725837'] I don't see this as a minefield, just a matter of choice. BBOT bridges were cheap, simple and effective. That was Leo’s whole design ethos while he was at Fender. If you rate your sound with a BBOT bridge that's good, and you don’t need to look any further. But if you do, high mass bridges can increase the resonance travelling between the strings and the instrument which can improve their tone. That's good too. Interestingly, after he left Fender Leo never used BBOT bridges again. [/quote] This.... Personally, I don't know why some people insist on seeing design faults or outdated components as evidence of an instrument's superiority - it's like Harley Davidson riders in the motorcycle world!

[quote name='Musicman20' timestamp='1341847424' post='1725034'] Mesa seem, IMO, a bit stubborn, but they can get away with it because they make amps with great tone. What the world needs is a slightly more powerful Walkabout, with the same pre, a similar power but higher (eg 500-600W), with speakons and a switchable pre/post EQ with a separate DI level. It'd be £1500+, but it would sell. [/quote] You mean like the old mpulse 360 (except for the speakons)??

Never really listened to them so can't compare their old stuff to the new but c'mon, Moves Like Jagger is a decent pop song!

Mesa Boogie m-pulse (second hand) is worth considering!

Waiting For An Alibi I Don't Want To Go To Chelsea Bed's Too Big Without You

Sold a pedal to Gavin recently - easy transaction, top bloke!

[quote name='Musicman20' timestamp='1341259932' post='1716084'] This whole modern requirement of a flat EQ to sound great is crazy. You might well be missing out on a fantastic amp which needs a small tweak. Also, not all amps at their 'flat' setting are actually flat. Don't get me wrong, it's easy when it's good at 12 o'clock, but the EQ is there for a reason. [/quote] Plus 1 FWIW – when I was originally looking for a lightweight amp and first tried out some Mark Bass amps in a shop I was pretty underwhelmed! However, a couple of mates of mine were using MB stuff and I had to admit that they worked well with a band live, so eventually I bought one. I’ve tried out most of the lightweight amps around and there are not many that I rate, but the LM3 has a certain warmth, plenty of power and it just works live (including at higher volumes) unlike Genz Benz, etc (IMO). It isn’t a simple plug & play amp and you do need to play about with the filters to get the best out of it, but there is a decent sound in there if you persevere! Like most people, I must say that I’m not at all keen on the cabs. If I had to choose, I would still have to say that I prefer my Boogie mpulse, but these days I find myself taking out the LM3 more often than not! We used it at my wedding party a few months as the house bass amp with five (rock) bands using it. Everyone who played thru it [b]and[/b] the sound engineer remarked on how good it sounded. I know that one of the guys who played that night is now thinking of getting one….!

[quote name='untune' timestamp='1340313297' post='1702859'] Check out Henrik Freischlader! [media]http://www.youtube.com/watch?v=3ImtsezbpqE&feature=related[/media] [/quote] I do like that...!

[quote name='louisthebass' timestamp='1340224214' post='1701472'] Make that +2 [/quote] Well a -1 from me, which makes +1 For me, the Ed Freidland book is alright for real newcomers to the blues but is just a bit too basic - tell me something that I don't already know! [quote name='Len_derby' timestamp='1340211595' post='1701189'] Last tip. Less is more. [/quote] Not necessarily - feel is everything but sometimes more actually is more! The trouble with playing a simple type of music like blues is that it can get a touch boring if you're not careful and sometimes a bit of flash can be very welcome [quote name='Doctor J' timestamp='1340284038' post='1702274'] I don't "get" Joe Bonamassa's blues. I've listened to several albums but he just leaves me cold. [/quote] General rule of thumb: early Bonamassa = good; recent Bonamassa = boring! I’m afraid that no one can churn out that number of records and maintain any sort of quality control For those who don’t like blues with lots of lead guitar – I’m afraid that a large part of the blues market in Britain (& Europe) is for SRV, Rory Gallagher, Bonamassa, etc, basically guitar led stuff Try listening to Henrik Freischlader, King King, Ben Poole – loads of great new blues acts around!

[quote name='paul_5' timestamp='1339445159' post='1688693'] Depends on your interpretation of 'Funky'. [/quote] You can interpret 'funky' in many ways However, the OP was talking about Little Feat & SRV but we've had people putting forward Offspring & the Artic Monkeys!

Some of these suggestions are a bit random considering the songs that the OP said that he was thinking of doing in his initial post...!

Steve Lukather did a cracking version of Freedom (the Hendrix tune rather thah the George Michael one): [media]http://www.youtube.com/watch?v=jOmgg-1B85A[/media] First on that comes to mine, must be many others....

[quote name='Dr.Dave' timestamp='1339153597' post='1684414'] Martin's a very experienced and skilled drummer - he could just play quieter , or he could use practise sticks. But we won't allow him to. His being a big hitter is part of the reason we chose him and he chose us so if venues don't want that they're welcome to go get another band. When I tell publicans what beer to sell they can tell me how to play. One of the benefits of not being fully professional is you don't have to compromise your music. Remember , also , to never respect the opinions of publicans - chances are they're just drunks who can't get proper jobs. In fact only speak to them to book gigs or ask for your money. 30 + years of gigging have taught me it's better that way. [/quote] Well said that man - a very enlightened and totally correct contribution to the debate!

[quote name='Bilbo' timestamp='1339143084' post='1684170'] I was watching him at one point and he was hitting his snare drum so quietly that the snare (which was on) wasn't actually ratlling! Its all about control. [/quote] If he was playing THAT quietly, what exactly was the point of him being there??

There are different types of drummers, who have developed a different technique to suit how they want to play. I mentioned above someone who is a hard-hitting Bonham type rock drummer, but I can also think of another guy who is a terrific technical player but very quiet (no use in a rock band)! Both very good in demand players, both pretty successful drum teachers but one can't can't play loud and the other can't play soft convincingly. Just different types of players who play in different types of musical situations.....

[quote name='EdwardHimself' timestamp='1339097210' post='1683687'] That sounds more like a problem with head tuning or equalisation on part of the engineer if it is miced up rather than how loud the drummer is playing. I guess it depends on what you're doing. Drums played loudly have a completely different sound to drums played at soft to medium volume. If you want to start playing the drums more softly, it is going to have less attack and not sound quite as good if you're doing rock music. I guess the question is whether you want to put up with that compromise for the purposes of not being too loud? The only other thing I can think of is either getting an electronic kit or drums with smaller shell sizes but I am guessing your drummer does not want to spend loadsamoney. [/quote] I completely agree! Loud drummers by no means necessarily have bad technique ! A mate of mine is a very capable, hard hitting Bonhamesque drummer who plays in a function band (among others). He uses an electronic kit in that band to keep the noise levels down. The only other option is to get a different type of drummer who plays quieter - just don't expect him to cut the mustard if you want to play Led Zep covers...!