uk_lefty

.....?

Keynote looks like it should do the job?

Of course, you have to serve the song.

Spot on! Reminds me of a gig I did where the drummer (an excellent drummer who never moaned) found Sunshine of Your Love so easy he was having fun chucking spare drumsticks at people during the song because he could play it one handed. That's how he had fun with the song! Not sure I completely recommend that though!

I think that would time out and the screen would go blank?

Oh and it also needs to work where there's no WiFi signal... So Google slides is probably out. The iPad is my wife's, she only uses it for Netflix and web browsing, I'm not familiar with Apple and their apps etc.

Looking for advice please. I've got LOTS of material to learn for the new band, 38 songs for a gig on the 10th December to be precise. I am able to get through almost all of it with the aid of notes scribbled by pen (see image). The other guys use iPads clipped on to mic stands for their notes because of the sheer volume of songs they get through. I've got an old iPad, I've got a mic stand mount now. I just need to find a programme that can take my hand written notes, allow me to rearrange the order for different gigs, and won't let the screen time out on me during the gig. So far I've thought of scanning in my notes and putting one song per slide on Google Slides, would that work? Is anything better? The other guys each use different programs which are overkill, IMO.

Have a few songs that in your head are the ones you've always wanted to play, what your teenage beginner self thought he or she would be doing... But you've never had chance? Either the band will not do it or it won't fit with the general vibe... Drop in a YouTube link! Here's mine:

Ok then, I'll do it!

Sorry to hear that. They've been my courier of choice recently because they messed up delivering a bass but I could talk to someone quite quickly over the phone who set about ordering the driver back out to retrieve the parcel and deliver it correctly after 7pm. Their web tracking is awful. When you've booked a collection it says "delivery due..." Which makes you think you've done it wrong or they've messed up, but it's just a poorly built website.

https://youtu.be/JR3uz8rq4ng The Temptations Vs Black Sabbath

Auditions are a bit of a funny thing. I learned the hard way that one meeting and jam through a prescribed list of songs is ok, but the bad habits creep out after a few sessions. I had a guitarist who impressed enough at meeting 1, then slowly tried to take over, didn't learn the songs, just wanted to show off expensive gear, sat out some songs altogether, tried to push everyone else to do more... Muso types get too excited. When there's a new band they smell the opportunity to live out their teenage dream of rocking the stage with their favourite cover songs, that like in your audition don't always hang together as a coherent set (IMO some of those songs just don't work together for the same band to be playing unless they change the feel of those that don't fit). Everyone wants their spotlight Rock-God moment and nobody wants to play the four on the floor three chord wonders that have filled dancefloors for generations because "it's boring". Always had this argument with an old drummer. If a part is boring, IMO good! that means it's easy to remember, then if appropriate it's your responsibility to make it interesting without messing up the whole song. My advice would always be to go for an established band. They have a set, a following, recordings, and gigs. They also probably have their feet on the ground and realistic expectations. If joining a new venture it's ok to experiment with songs and sounds but build it towards an identity so it's not just a jukebox of "something for everyone". Something for everyone doesn't exist. I've never got to play some songs live that I have always, always wanted to (Fire by Crazy World of Arthur Brown) because it just wouldn't fit any band I've ever been in and would probably be a bit weird. But that's what a band needs to do, work together and work for their audience.

I need to look into this further. I really want to get the bass out the house but it's pristine, there's no way I want to relic it in the boot of the car! Anderson's today went and tried to put a Jack Casady in a Gator case for me but it wasn't a goer. Epiphone are showing as delivering to UK shops in 3 months!!

So far UPS have been really good with me. I've sent a bass and a cab and I arranged for them to get the Jack Casady for me. All gone well, they even talk to you on the phone if something goes wrong AND try to help.

Id love to be, but no. Just joined a group that does "pop goes rock" type stuff. No songs from before 2000. Its new for me because I'm an 80s obsessive but the band are very good and get lots of gigs and I still get to work out synth bass melodies. They also want to do acoustic stuff, and though the Warwick Aliens look amazing I've always fancied a semi hollow bass for playing electrified stuff too. I also wanted to get something that is the polar opposite of my Stingray and I think I've succeeded without compromising on having a sound with tons of presence.

I am impressed with Ashdown ABM Neo cabs purchased recently but best purchase of the year is this that arrived yesterday. I love it.

This is my new favourite band.

So, I joined a new band a few weeks back. I've also been selling off a lot of gear that wasn't being used or likely to be used. I sold off a gorgeous jazz bass and an Aria SB. I didn't think I needed another bass but being a "jazz guy" who doesn't have a jazz I was tempted to buy a Sire. Then I joined the new band... The sound for that band is my Stingray, big meaty bass sound with some drive and not so subtle effects every now and then. But they also want to do acoustic sets. Acoustic bass guitars don't have the best reputation so I went for a semi that can be used for electric performance too. An Epiphone Jack Casady came up on eBay Sunday night and after breakfast on Monday I'd bought it. The seller could not have been better. The bass is in immaculate condition. I've binned the roundwounds it came with and stuck on some Fender tapewounds I had spare. The good: It looks amazing. Even the back of the body is nicely figured wood. The neck is chunkier than expected, the fingerboard is gorgeous, I love the massive tuners on the headstock. The range of tones and playability is superb. First bass I've had in a long time that's making me want to explore it instead of just instantly feeling over familiar with it The not so good: Finding a case is hard at the moment. The D string put incredible tension on the neck when tuned up. Slightly better with my tapes on but I think a neck tweak may be required. They didn't do the blue one in left handed.

https://youtu.be/tcUB-3lud60

I think it was a joke....

I was in London this weekend. Lots of adults and so on in Halloween fancy dress here and there. Then, in Covent garden, either the most accurate and niche Halloween costume EVER, or Mono Neon himself, just strolling around with a handful of other normally dressed people....

Weird how things go around though. However many years back when I discovered GAS and eBay on mobile phones Westone Thunders couldn't be given away, now people are expecting more than £250 for the lefties. 80s Fenders have a terrible reputation but they're listed at high prices

I would have been after it like a shot but I've got something special arriving tomorrow, all being well. And my Status/ headlessness needs are being met by the budget younger brother.

I hate that with a passion!!!

Its not entirely unreasonable if you're catching up learning with a band. Having said that if the guitarist is always tuned down or songs are played in different keys I'd want to know that in advance so I can either adjust how I play a song or downtime my bass in prep. IMO, and something I've only got my head around recently, it's a good idea to not learn songs rigidly by note or fret number but by shape on the fretboard, or chord progression (I, iv, v... Whatever) if you've got bands who often want to change the key of songs, it's easier to then move around if your reference point isn't fixed to a certain part of the fretboard. Of course, all this depends on how you learn and remember things and different things work for different people. All this stuff comes with experience and gets easier over time.