peteb

I think that you have to look at what an original band asks themselves when they audition a new bass player, which is: 1. Can he play the bass parts to their songs? 2. Can the new guy bring anything to drive the band forward, in terms of image, stage presence / charisma, songwriting, contacts, etc – bearing in mind that they may well want someone who will not detract from the principles and doesn’t expect to write songs? 3. Do they fancy spending a large part of the next few years having to work, live & socialise with this person? The guy they choose does not necessarily have to be the best player – as someone said before, your face just has to fit!

[quote name='OutToPlayJazz' post='227998' date='Jun 27 2008, 01:31 PM']Just wondered if anyone else was there last weekend getting muddy? My band was The PHD (headlining the 100% Biker Marquee), although we were outdone by the 'Exotic Dancer' who was on after us![/quote] I was there, in fact we had a brief chat (when you picked up your pass at the control tent in the afternoon) We saw your band, who were really good, thru I couldn't comment on the performance of the 'Exotic Dancer' as my good lady wanted to head back by then! And if you think it was muddy - you should have been there last year!!

[quote name='warwickhunt' post='220907' date='Jun 17 2008, 08:13 PM']I doubt your preamp valve would be the cause of the noise from your cab, I think you are safer assuming the former, that it was the speaker complaining. There are better valve experts on here than me who may be able to give more insight but speaking from 28 years experience (not all of it dedicated to valve amps but I've had my share); generally when preamp valves go they lose top end first and you'll get microphonic noise, I've not encountered a preamp valve inducing 'farting'![/quote] Just for reference and I'm not saying it's particularly common, but I had a problem with a Boogie amp that caused preamp valves to get prematurely knacked - which definitely going inducing a 'farting' sound!

[quote name='bilbo230763' post='220382' date='Jun 17 2008, 09:38 AM']He rocks. Have you heard 'Itch'? Fantastic![/quote] I complement you on your taste - one of my top ten desert island albums! Amazed that you like someone that I do.....

[quote name='ianrunci' post='221769' date='Jun 18 2008, 10:25 PM']Don't get me wrong, I love playing Pastorios and clarke tunes but i hate listening to them. I would much rather listen to the Stone Roses or the Smiths any day of the week to jazz funk and jazz rock. I love classic rock & I grew up listening to bands like The Buzzcocks, The Pistols, The Clash etc so I am not trying to be a musical snob[/quote] +1 I think that I am bowing out of this argument at this point as you are expressing my point much more eloquently than I am....!!

[quote name='ianrunci' post='221755' date='Jun 18 2008, 10:07 PM']So learning shakespeare and performing it on stage doesn't make people better actors? To truly learn to play a complicated bassline from any record that you find difficult and challenging to play is a learning experience surely. Many of the worlds most talented musicians and songwriters spent years learning and performing other proples tunes. Sting being a prime example. All those years playing in orchestra pits and swing and Jazz bands surely didn't degrade his creative artistry. I imagine there are only two ways to improve as a player and that is to learn challenging lines or to constantly practice scales. I know which I would rather be doing. I played for years in original bands, I have done session work on lots of records where I have had to create lines from scratch and I have also wrote songs, I personally think that the only way I was capable of writing songs was to have some skill and experience to base them on in the first place. I don't think there is much difference whether your playing in a cover band or playing in an original band as far as playing skills go, but when it comes to writing an interesting bassline, having a good idea of how to string one together helps. And surely it depends anyway on what covers you are learning. If you go from playing original indie music to learning tunes by Pastorios & Clarke etc then how can that not make you a better player?[/quote] I totally agree with two provisos - playing in front of an audience sharpens your skills considerably; and why can't you learn to be a better bass player in the context of playing in an indie band? Having said that, learning jaco bass parts is obviously going to make you a more accomplished player!

[quote name='thisnameistaken' post='221733' date='Jun 18 2008, 09:32 PM']Still on the writing metaphor: My girlfriend reads more than anyone I know, but always has me proof-read anything she writes and asks me for spellings. Apparently all that reading hasn't been much of a help to her writing.[/quote] I think that you have the wrong end of the stick here - surely the important thing is the content of what she writes (from an artistic point of view) rather than the spelling Most novelists will have a sub-editor proof reading their text to check for spelling, syntax & consistency

[quote name='thisnameistaken' post='221687' date='Jun 18 2008, 08:16 PM']I disagree. Learning other peoples' songs only teaches you other peoples' songs. If you sat down with them and studied them in depth then maybe you'd learn something more generally useful about music, but simply lifting the line off a record and memorising it in order to repeat it in a pub at the weekend will teach you nothing. More importantly, that's time you could've spent either studying something more challenging or experimenting on your own, either of which would've had greater returns. I would argue that dissecting a work of literature and demonstrating an understanding of it is a markedly different pursuit to memorising a bass line.[/quote] Surely when you learn a cover you not only work out the bass line – to do it justice you need to have an understanding of the mechanics and arrangement of that song This develops a skill that you utilise when you craft your own songs Also, it’s pretty obvious that the more you play live the better a player and performer you become

[quote name='jakesbass' post='220829' date='Jun 17 2008, 06:47 PM']I realise Pete thanks, I'm just being a little ascerbic and ironic. If it sounds over the top then I apologise. In any event if someone felt I was too heavy handed in stating my position I will always sort it by PM but thanks again. Jake[/quote] I didn't think for a minute that you were seriously accusing anyone of being a bigot - I was just making the point that some people here are just a little too earnest about themselves and their music! You play music because you enjoy doing so and hopefully make a few quid – what is the point of over analysis?

[quote name='jakesbass' post='220808' date='Jun 17 2008, 06:20 PM']As I see it no-one suggested in any post that there is anything wrong with "being a bassplayer/musician/writer - or entertainer" So given that it hasn't been hinted at and given the level of apparent anger with which you have entered the debate it sounds to me like the problem lies with you. And the fact that you avoid people for how they classify themselves displays a degree of prejudice. Think I'd rather spend time with an artist than a bigot, not that you are one, I would wait until I had made your acquaintance to make that judgement however you classify yourself.[/quote] Jake, I don’t think that Gypsymoth is talking about avoiding people because of prejudice or any sort of bigotry, simply that he would rather not seek out the company of people who are a bit pretentious and take themselves too seriously

I never had a problem with the Bass Centre, they always went the extra mile for me and often did things to help me out that went far beyond what anyone could reasonably expect! Find it difficult to understand why so many people here are so negative about the place

There are some rules of thumb here (assuming that you are in it for the long haul and intend to play / record for an audience): 1. Scrimp and save to get what you want rather than what you can afford – it’s cheaper in the long run! If you buy a bass that you don’t want you will get sick of it quickly and end up getting what you wanted and having to off load your cheap bass at a loss 2. Buy second hand rather than new, preferably privately – eBay and forums like this are great! My main gigging bass is a Warwick Stage 1 that I bought (in mint condition) for £435 off eBay 3. If you do go to a shop make sure that you look around and don’t be afraid to haggle – the phrase “what’s your best price?” has saved me hundreds of pounds! 4. Despite what I said in point 1, you need to have some sense of reality – I’ve played a £6k Fodera, nice bass but is it really that much better is that than a Warwick/Status or whatever? 5. Similarly, do you really need 5 basses or 2 good ones for gigging and a better amp? 6. And, yes the audience may not care what gear you use but they can tell the difference between a something that sounds good and what sounds crap, even if only sub-consciously!

I once emailed Billy with a query about using a Hipshot 'D' Tuner that he endorsed and got a detailed reply within 30 minutes! Top bloke....

[quote name='Ou7shined' post='204379' date='May 22 2008, 04:06 PM']What about putting some weights inside the electronics compartment? Nobody will see anything.[/quote] Kryptonite might work??

[quote name='dlloyd' post='204092' date='May 22 2008, 09:56 AM']I'd read about that and thought it sounded brutal, but actually tried it when I accidentally cut on the fingertip of my left index finger with a scalpel and had to play that evening. It doesn't rip chunks out of your forearm, it removes a very thin layer of essentially dead skin and you can barely feel it... and it covers cuts like a charm. For right hand fingers, I'd build it up in layers. Avoid hairy bits of forearm... that will hurt! Super glue on its own cracks, and it's easy to knock a chunk of it off, leaving the raw skin underneath... not pleasant. Paper and clingfilm doesn't work very well in my experience. Disclaimer: It may be that the superglue/forearm technique only works for me because I have some sort of freakish skin anatomy that you might not share... I will not be held responsible for bloody holes in your forearm![/quote] RESPECT - never actually tried it myself or knew any one who actually had!!

You could always try the Stevie Ray Vaughan method, which is to superglue your fingers to the opposite forearm, leave to dry and then rip off – leaving a bloody forearm but an extra layer of skin and a layer of superglue on your fingertips! If that’s a bit too hardcore you could always try what I do if I haven’t played for a while – apply three or four layers of plastic skin half an hour before gigging It doesn’t perform wonders by any means, but can help to get you thru the gig with a little less discomfort....

Saturday gig – big bike rally near the east coast with loads of people there, middle spot with 2 other great bands on the bill Not the best we’ve ever played but stormed it nether the less (the double bass player of the excellent headlining rockabilly band was kind enough to say that we “just edged it 2-1” – not so sure myself but we certainly had a good night)! Hung out with some old friends who we don’t get to see that often, including a couple of guys in the other bands whose paths have crossed with ours on the circuit in the past – all in all a great weekend, the reason we still do it.…

[quote name='bass_ferret' post='186056' date='Apr 26 2008, 05:54 PM']Controverial? Me? Yes Jaco did redefine what the instrument could do. So did Jamerson and The Ox. Going back even further, so did Jimmy Blanton - although it was a different instrument. At least Joe Public will have heard The Ox and Jamerson - even if they dont dig it. I dont think I have ever met anyone who did not like Motown though.[/quote] That’s part of the problem for me – saying that you don’t like Motown is like declaring that your hobby is torturing small puppy dogs!! I can’t say that I hate Motown as such, but if I never hear some rubbish DJ playing a Motown set again at a wedding / birthday party / work function it would not worry me at all…. Find it difficult to understand all the hate for Jaco here – surely one of the greats on any instrument, not just bass

[quote name='Oscar South' post='186022' date='Apr 26 2008, 05:09 PM']I'm not a fan of Wooten's Double thumbing and original compositions, though his arrangements and ensemble playing are exceptional. Also I can't stand any aspect of Bill Dickens playing, apparently he gave up drumming to overplay on bass because he was told too often that he overplayed on drums, good logic.[/quote] I'm not a massive fan of Wooten's by any means, but he is undeniably a great musician So why deny it?

[quote name='bass_ferret' post='186011' date='Apr 26 2008, 04:58 PM']I'm sure this was done a while back. Anyway - I vote for Jaco. Great chops and technically brilliant but nobody else has ever heard of him. I've had conversations like: Jaco who? What did he play? Well he was on Heavy Weather. What? And a couple of Joni Mitchell albums. OK! (accompanied by blank look). As opposed to: Jamerson who? What did he play? Loads of Motown hits from the 60's and 70's, like Reach Out, Bernadette, I Was Made To Love Her, Whats Going On. Really - how come I've never heard of him etc etc.[/quote] Let's be controversial! To anyone who isn’t a massive soul fan, Jamerson was just a decent session player who played on a string of hits! Jaco redefined the boundaries of what the instrument could do…

[quote name='chris_b' post='184453' date='Apr 24 2008, 12:27 PM'].... getting back to the UD video..... I think it's great, warts and all. Don't analyse it, just "get" what he's doing.[/quote] +1 - I thought it was pretty cool for a video posted on youtube! It always amuses me when people look at a successful player and start finding imaginary faults! I’m sure that a guy who has been hired by such diverse talents as David Coverdale, Christina Aguilera, etc will: a) be able to play in time; and have a certain confidence in his playing

Coverdale's new bass player shows the stuff he doesn't get to play with Whitesnake: [url="http://www.youtube.com/watch?v=Cs-sENAcLGo&NR=1"]http://www.youtube.com/watch?v=Cs-sENAcLGo&NR=1[/url] He’s just mucking around here, but pretty impressive!

I would be very loathe to get rid of the SWR if you like the cab I have the older version of the SWR 6x10 and it sounds great. It moves loads of air and has plenty of headroom – which is important when you are playing in a loud band! You have to ask yourself if a new cab is really going to sound better in the context of a loud band. As a rule of thumb, I would suggest that a quality 6x10 is better than a 4x10 (assuming that you can cart the damn thing around)! I'm sure that you could spend the money on a new (or spare) amp or another bass...!!

Is this the same caulkie who organises biker parties and who got up and played drums with us when we played at one of the aforementioned parties? I vaguely remember a pink tutu being involved....!!