peteb

Rig from last night, at a very cool venue in the Wirral

I've got a pretty similar story to WoT's - last year I was reunited with the 78 P bass that I bought as a teenager and rashly sold in my mid-twenties when I discovered active basses. Never found a P bass that lived up to my original bass and last year got the chance to buy it back (for five times what I sold it for)! Picture from last night's gig.

I hope that this link works! The end of the final song of the final Storyteller's Night (Magnum tribute) gig in Newcastle, just before lockdown in March last year: https://www.facebook.com/raymond.dodds.3/videos/3317836648243322

He still is... and as mad as a box of frogs! No shame in being Phil Chen's dep...!

All that says to me is that you were good enough to be Phil Chen's replacement in a band, albeit temporarily!

That's one of those with the 'transition' bridge (or that's what I was told it was known as) i.e. the old style bridge but without the damping felts. I had a black 95 Ray with the same type of bridge a fair few years back.

Indeed they do! A really good singer that I play in a couple of bands with asked me about a guitarist he was thinking about for a cover band project, who I had played with 25 years before. I told him that the guy was a decent player with great BVs, but was a nightmare to work with and he had screwed me over somewhat. The singer went and got somebody else to play guitar for him...

I have seen that happen on more than one occasion...!

I think that you have your reason there. To be fair, it is a legitimate reason for them to find someone else who is a better fit. It's no reflection on you and there could well be another band around the corner that is more suitable for you.

Anyone know when did they changed from 44mm to 41mm? I actually prefer the later (41mm) P bass neck to jazz necks, but I had a 57RI P bass with the wider neck that was a bit too much for me.

Much as I like a tort scratchplate, the mint looks just right with that shade of slightly darker LPB.

That looks really nice. Great colour - is that a mint scratchplate?

Personally, I would suggest having a chat with Jon Shuker

But you have those gigs in the diary. This lot are still rehearsing up a set, have no gigs booked and are nowhere near ready to gig. Not to mention that they may find themselves without a drummer...

I would just leave well alone and see where you are at the beginning of next year. Personally, I would be more worried about the attitude of the guitarists and if I was a drummer there was no way that I would play with them in the current situation. TBH the band sounds like a goner.

It's nearly 2022 already and the chances are you wouldn't be gigging much this year (or even the beginning of next year) even if you wanted to. Give the guy a break...

If she's singing BVs, then she's singing BVs - nothing wrong with that! Some of the greatest singers ever have been employed as backing vocalists, '20 Feet from Stardom' and all that...!

My gigging basses were all made in either America or Japan / America, amps from Poland or America (with a spare made in Italy) and cabs from America again. I'm not at all bothered about buying British these days, but I do think it's quite cool that the amp that I use live the most was handmade by a small company (in Poland as it happens).

Hi Greg, I downloaded the transcription and there's an error in the final part of each chorus (bars 7 to 10). This section should have a natural F (rather than F#) otherwise you find yourself playing a F# against the F chord, which I don't think is quite the harmony that you are intending!

The thing is that there is no bass on the verse, you just come in on the chorus. Sorry for ruining the joke by explaining it...

I think that this thread was derailed when it was suggested that it isn’t such a big thing if you don’t like the songs that you are being asked to play, because you don’t have to invest too much time in learning many pop songs. This has led to many people’s insecurities being exposed because they don’t have the skillset to actually learn stuff that quickly. I think that Tim has a rather singular way of viewing the world due to his rather unique personal experience of life, but in this case I actually agree with much of what he has said. Others are reading far too much into his comments and taking it personally. To get back on thread, I remember reading an article in some bass magazine many years where was an article by a guy you may have heard of, but isn’t well known enough for me to remember his name. He was saying that there are three criteria that he considers when he is deciding whether to do a project or not: the music, the money and the people involved. If two out of the three works for him then he will pursue the project. I think that is still pretty good advice…

Very true

You can rephrase it all you like mate. The bottom line is the better you are, the more likely you are to nail things after one listen and the better you will be at busking...

Lee Sklar plays small gigs with his friends in local bars when he's not on the road with big acts. Probably the same sort of gigs that you and I do! We have had a few sign up to Basschat, but they don't tend to stick around (although Guy Pratt & Neil Murray occasionally post).

That's great, you are trying to improve as a musician. The difference between someone like me, who's quite experienced and not a bad player, and the top session guys is mainly about their ears (rather than just technique, etc). I like to think that I've got a pretty good ear, but I had a lesson with a guy who plays one live with a world famous band and has done loads of session work and it's a different world. He hears nuances on the first listen that it would take me weeks to work out, if I ever did (and I'm better than most on these types of things). We are all trying to play at a higher level, which takes work and requires experience. But some guys are already there and they can nail things first time that we would take ages to get.