Doddy

[quote name='Bilbo' timestamp='1409219380' post='2537563'] Jazz artist who continually regurgitate their old hits are given pretty short shrift and playing the solos 'as on the record' woudl see them laughed out of a theatre. I believe you should expect what the artist is prepared to give. If you want the hits, play the cd. [/quote] Chick Corea still plays 'Spain' and 'Got a Match'. Herbie Hancock still plays 'Chameleon' and 'Actual Proof'. Randy Brecker still plays 'Some Skunk Funk'. I'm not particularly knowledgeable about Kate Bush but I would expect that there would be a lot of people attending the shows who would want to hear her perform her big hits. I'm sure that fans of any band enjoy hearing the more obscure album tracks, but there is still something special about hearing them play their big songs live.

I've used the full size passive one for years with no problems, and I use an active bass 90% of the time.

Yep..I use the older 550 model which has the semi parametric eq. I've maybe used the eq twice to notch out certain frequencies in an echoy room, otherwise I have it bypassed. Is the sound uncoloured? Honestly, I don't think any amp is-they've all got their own flavour. What I will say, is I can get the sound that I want from the MiBass. It's really clear through the whole range and can go from a modern hifi sound to really heavy low end or whatever you're after. I've had no problem running the Upright or the synth through it either, not to mention a heavily effected electric bass, and it's always sounded great-if it didn't, it wouldn't have replaced my Genz Benz.

[quote name='budget bassist' timestamp='1409150619' post='2536863'] I was actually wondering if anybody had tried those Ashdown ones, I really like the brand, and they're pretty light to boot. [/quote] I've used nothing but the Ashdown mi12 since they came out, and I'm really happy with them.I normally use just one but I might use two if the gig is going to be louder onstage. They actually replaced my Bergantino HS410. I use them with the Ashdown MiBass 550 and the PiBass 240, and the whole rig sounds great. I've also had with great results with the LB30, especially with a Precision.

One of my old Hartke heads failed on me once.I always carry a DI box so I just had more of me put through my monitor. I've not had a problem with any of my Ashdown stuff. The PiBass is small enough for me to put in the pocket of my gig bag if I felt the need to carry a spare though.

I think there are some interesting points here. I make a living from playing and there are definitely gigs out there,but you have to branch out both musically and geographically. I haven't done a gig in my local area (I live just outside Stoke) for at least 3 years, and even then it was the graduation ball at Keele Uni.I'm not involved with the local scene at all. Most of the guys I work with are based in places like Manchester, Liverpool, Chester, Birmingham, and the gigs can be anywhere. The other point is branching out musically.I wouldn't get as much work if I couldn't (or wouldn't)play a bunch of different styles and know a ton of tunes, be able to read, and be able to double on Electric and Upright. Consequently, I've played everything from standard function band sets to theatre shows, jazz standards to sequence dancing, and pub rock to big band. It's hard work but it's doable-I've been doing this for a living for 15 years now, and my Dad's been doing the same for nearly 40.

[quote name='wateroftyne' timestamp='1409144011' post='2536768'] ...and don't use a PA, presumably..? [/quote] Yeah. Nothing wrong with playing a stripped down set or whatever...but it's not acoustic is it? My point is, when did the word acoustic become a substitute for playing stripped back and without drums,rather than playing acoustically? Hence, if you're playing acoustically you need a acoustic bass, if you're not playing acoustically but just want a different sound then there are a ton of technique and eq options on an electric bass as has already been stated.

[quote name='wateroftyne' timestamp='1409143508' post='2536757'] When the OP specified that they weren't using drums... [/quote] Doesn't make it acoustic though does it though? Simple answer...If you're playing acoustically get either an acoustic bass guitar or a double bass.

When did the word 'acoustic' start meaning 'without drum kit' ?

Roccos muting comes mostly from the left hand. He frets, mostly, with his index and middle fingers, and mutes with his ring and little.

The Ashdown MiBass has handled everything I've thrown at it for the last few years with no problems and with great tone. If you don't want the full power of that, the PiBass is a great amp to look at.

Promoter "Can you supply your amp for the other bands to use?" You "No, sorry." Done.

[quote name='flyfisher' timestamp='1408985197' post='2535246'] If you consider playing in a band as 'work' then I can understand your position. Nobody likes to 'work' for nothing. But what if you don't consider playing in a band as 'work'. What if it is just another form of recreation? Who gets paid for their hobbies? [/quote] Most hobbies don't involve competing for the same work as pro/semi pros though. That's what I meant earlier when I said that things change once you put yourself in public. There is absolutely nothing wrong with playing for pure enjoyment, but when you take it outside the garage you are entering in to the business side of it, and that side involves money. Think about it this way.....How would you feel if someone offered to do your job for far less money which, in turn, means that your income is potentially affected?

[quote name='flyfisher' timestamp='1408962945' post='2534896'] Exactly, and that's the 'problem'. Music is fun. People like to listen to it and they like to play it and they like to see people playing it and they like to have people watch them playing it. When people like something so much, they are prepared to do it for no, or very little, financial consideration. Anyone who wants to make money out of such a thing has to face that reality. Cue the plumber analogy . . . . Except it doesn't really work because plumbing isn't fun. No one really wants to be a plumber so they'll only do it for money. Music just isn't the same sort of thing. Simple fact of life. [/quote] I would have thought that quite a lot of people want to be plumbers. I don't buy your first point. If you want to just play for the fun of it, you can do that in a rehearsal room/garage.If you want people to watch you, invite them there or put on your own private event, but things change when you take your band out in to the public domain. I'd just typed out quite a long reply, but i don't think it's worth bothering anymore because the standard bad analogies will be brought out. Besides, I don't have a right to earn money from music because it's more fun than flipping burgers or whatever.

[quote name='linear' timestamp='1408919396' post='2534654'] If you want to earn a fee, you have to actually [i]earn[/i] it, i.e. provide a product that venues feel is worth paying for. If other people are giving away for free the exact same thing you are trying to sell, then surely you've made some very poor business decisions. [/quote] It doesn't work like that though, does it? Certainly not in the pub scene, where in a lot of cases the quality of the product is secondary to bar and/or ticket sales. There will always be bands who are happy to go out for little to no money and will bring their family with them.They are an attactive prospect to landlords, regardless of quality because they know that they will make a certain amount of money with minimum outlay. It's not really about the band making poor buisness decisions, it's about venues making good ones. Just out of interest, and so no one gets the wrong idea, I've done very few pub/club gigs over the last few years so it generally isn't really affecting me but it's still a concern when clubs offer various bands I work with gigs for money that wouldn't even cover expenses.

[quote name='dougieb' timestamp='1408898986' post='2534436'] Never play for free or pay to play. You are a professional musician who has invested your time, gear and experience and you should be paid end of. [/quote] But the vast majority of people doing these kind of gigs aren't professional, which is why there is a continuous stream of free and pay to play gigs. If you aren't reliant on music as your income, which most people on the pay to play scene aren't, then the idea that they are playing for 'exposure' is the most important thought. As long as there are bands that are willing to play these gigs, there will be venues who will take advantage. One of my questions/problems with these situations is that surely the idea of playing in a new city is to gain new fans, so why would you just bring the same ones (often family and friends) who can see you most weeks locally and for free?

Joe Osborne played on the 5th Dimension version, but I believe that the movie version was played by Wilbur Bascomb. Edit...The 5th Dimension line was Transcribed in Bass Player a couple of years ago.

I use the Homebrew Hematoma for this. It's got two channels, one side which is just a boost and other which is an overdrive, and you can use them both independently. There is no blend but I've never noticed any need for one.

If you were struggling to hear your intonation before, I certainly wouldn't go ampless this time. The only time I'll happily go ampless is if I'm using in ears.

I've been to this pretty much every year since it started, but unfortunately can't this year due to gigs. It's a good day out if you're into vintage drums, and it's always fun to meet up with some old friends.

Omar Hakim-Drums Mino Cinélu – Percussion David Rhodes – Guitar Friðrik Karlsson – Guitar John Giblin – Bass Jon Carin – Keyboards Kevin McAlea – Keyboards Jacqui Dubois – Backing vocals Sandra Marvin – Backing vocals

Hot Rox are advertising it as being in stock

[quote name='BassInMyFace' timestamp='1407197048' post='2518346'] i hate treading water and am always looking for new challenges but when you're a relative beginner in a technique outside your normal "field" eg bowing when you're a pizz player (or vice versa) or even slap bass versus fingerstyle etc, how do you guys "bring this to the table" so to speak with your band mates or jam partners? practise is an obvious answer but who has the time to fully "master" a new technique before they actually want to start using it? [/quote] Just picking up on this bit, for me the whole idea of practice is to be able to do something that I can't, it makes no difference if I'm going to use it on a gig or not, at least not in the near future. I might spend time with the bow, yet I don't have any gigs booked where I can use it but there will be times when I'll need to be able to do it. Other things I'll learn purely for my own satisfaction-I'll never need to play like Wooten but yet I'll still learn it and in doing so there will be things that creep in to my playing, but I'm not going to force it in to a song. This is basically my theory on practice...I want to improve and eventually it will become part of my playing but I'm not going to force it. With regards to the 'Jack of all Trades' comment, I'm a big believer in versatility. I wouldn't get half as much work if I was only to play one style.I've been booked for gigs on Upright where they didn't know I played electric and vice versa,and i've also been booked because I can double.I think that term is often used very negatively, almost to suggest that versitility means you're not actually good at anything but there are so many players about who can kill it on a rock gig one day, swing their arse off on a jazz gig the next night and then play a show the next.For me, versatility is something to strive for and that brings it back to my point about practice. You might not need to use what you are practicing in the short term but when the call comes where you will need it, you'll be ready.

I'm surprised the nobody has mentioned Leonard 'Hub' Hubbard on the first few albums by The Roots. Check out his work on the album 'Do You Want More?!!!??!' In my opinion The Roots are the greatest.

Only the top 4 frets on Sheehans Attitude Bass are scalloped under the G and D string.