thisnameistaken

Nearest venue to me is a 10 minute walk from my house, but 6 years ago the same venue was directly across the street from my flat, so it was like I'd skipped the bit where I put stuff in a car, drove the car and parked it infront of my house, and went straight to the unload bit.

Another +1 for Jan in Chapel Allerton, he's a good guy.

[quote name='TPJ' timestamp='1329487736' post='1543249'] Just have a peek through the F hole, you'll see it standing between the front and back. Can't remember if it's right or left side. [/quote] Treble side - G string F-hole, it'll be positioned a couple of inches inside of the F-hole near to where the bridge will sit, can't miss it. Definitely don't shake the bass around with no strings on it because you might actually shake the post loose whilst checking to see if it's fallen. That would be a massive fail

It's not too difficult but don't get zoned out in winding the strings on and take your eye off the bridge, or you might be surprised by a loud bang when it flips over and smacks into the body and you have to start all over again. I can't remember if I've already had this conversation with you because I'm old and stupid, but before you put a string on rub the bridge slot and nut slot with a soft pencil for a bit of lubrication. Then be ready for the string to pull the top of the bridge towards the fingerboard as you tension it up, so the bridge looks like it's starting to keel over. If it starts to happen, take a rubbet mallet or the spine of a heavy book (not the edge of your hand, you'll just hurt your hand!), and tap the side of the bridge just under the strings until the bridge is perpendicular to the body again. Then resume winding the string. You might have to do this a few times, it's normal and not that scary once you get going. Oh and do all this with the bass on its back, which should give you a better chance of keeping the soundpost in place while you're doing it. Oh and for that matter make sure the soundpost is in place before you start putting strings on it - if it's fallen then DO NOT string up the bass, take it to a luthier to get the post repositioned, if you string it up with the soundpost rattling around inside the pressure of the strings could cause major damage.

I struggled with this a bit and Geoff Chalmers recommended a method of plucking that is a bit like snapping your fingers or turning a key - turning your elbow in towards your body so you're using your whole arm for the movement rather than just your wrist. Still if I give it some real welly my hand leaves the fingerboard completely but that's inevitable - just don't hit it so hard until you've got used to it and can get your hand back into position quickly and easily.

[quote name='SteveK' timestamp='1329398023' post='1541805']What you should do is go to your first rehearsal with the enthusiasm and vigour of a youngster (I'm guessing you're under 30), with your array of pedals, be yourself and demonstrate what you can do. They will possibly love it - Possibly they won't. The worst they can do is say, "We'll let you know".[/quote] Actually the worst thing is that they ask you to turn them all off, say something like 'Make the bassiest sound you can' and then instruct you to play what the guitarist was just playing with his thumb. Then when you call them and say you don't think it's the right gig for you they plead with you to come back and tell you they've been looking for a bass player for months. Not surprising!

My last band replaced me with a competent bass player with none of the other things that I brought to the band. I read a review of their (our) last EP today that said what really set them apart was their imaginative arrangements and a talent for vocal harmonies. Hehehe. Not so much any more. All that said, in my current band I currently contribute a lot less and I don't think I'm quite so key to the sound of the band, but it's early days and I'm still fitting in.

[quote name='SteveK' timestamp='1329390042' post='1541599']If I was in this band and read your post, I would be a little concerned. When you join a band it's generally the case that you will be expected to fit in with them, and not them with you. Does this band know about your nifty pedal work? Is that why they've asked you? If no, then I'd back off with the pedals or you'll probably find your time with the band short lived.[/quote] Good point. I usually take some effects along to a first rehearsal/audition with a new band and if they take an instant dislike to that it's usually a good sign that the band isn't for me. Fortunately the last time I did this, when I turned on the effects the singer said 'Play more like that'.

Either they'll ask you to play roots on everything or they'll give you carte blanche. That's how rock bands go IME. I avoid rock bands these days because the ones who want you to play root note crotchets all day tend to outnumber the more liberal ones by a huge factor.

[quote name='Cosmo Valdemar' timestamp='1329322227' post='1540650'] I once found a pristine DeArmond Starfire bass in a junk shop in York. Wish I still had it. The shop was just outsied the city wall somewhere, not sure exactly where but there is a building opposite with a large painted advert on the side for 'bile beans', whatever the devil they are. [/quote] That's Bulmers. I've never found anything decent in there so well done you!

I've never played one of those that was set up properly but I would assume that with a decent setup it should be a serviceable bass. Expect to spend another £200 or so on a setup and playable strings (the ones they ship with are terrible).

[quote name='tiki613' timestamp='1329231267' post='1539178'] I thought the honey had more tension than evah weich [/quote] I think they have a similar feel but the honeys are slightly lower tension.

MOR Music moved to bigger premises recently and they've got quite a big floor space now for an independent guitar shop. Typically though they don't have a lot of basses in, they do have the new budget Overwaters though. Red Cow on Goodramgate is mostly folky instruments, they have a few basses but typical budget stuff. There's also Bulmers at the end of Goodramgate under Monk Bar which is a second-hand shop but they have a room full of guitars in the back. Again usually cheap stuff. I wouldn't bother going out of town to Gear4Music. Should also point out that PeteAcademy's band Nearly Dan are playing the Duchess on Stonebow on Saturday night. Tickets are £12.

I love the Grammys, nothing like a glitzy industry do to demonstrate that some people are still making plenty of money out of their artists.

Don't buy a custom bass, you'll end up with some hideous figured top with a translucent finish over it, then 6 months later it'll be for sale on here and nobody will want it because everybody else's bad taste is different to your bad taste.

[quote name='Earbrass' timestamp='1329137921' post='1537582'] Knowing when to stop.[/quote] Such a rare skill.

If they are the regular (not weich) Evah Pirazzis those things are hardcore.

In terms of exercises, the best exercise is playing the bass. See how long you can play without your forearm feeling fatigue or your elbow starting to drop - when that happens, take a five minute break, then go back to it. That's the safest way to build up the muscles you need, don't continue to play if your arm is feeling tired, a short break is all you need so make sure you take it.

How high are your strings at the end of the fingerboard? Actually what strings are they? I had this issue with my first set of strings (the higher tension Evah Pirazzi set) but they were hard to play generally. Perhaps try something lighter at least until you've got into shape for playing the thing. Also make sure you're holding your elbow up nice and high (close to parallel with your shoulder when playing the lowest positions, assuming you've got your bass at the right height) which will help you apply more pressure without squeezing your hand. Squeezing too hard can lead to tendon problems so avoid it as much as you can. Also if it happens on particular notes it could mean your fingerboard needs shooting, but you probably already thought of that.

You could always do a Stars-In-Their-Ending, with a hit on every syllable of the hook line. I think Harry Hill has adopted this now but I did it first.

The GR is based on the Meatball circuit which is very versatile and difficult to make sound bad. Well worth a look. For 'funk' though you might prefer the Proton which is based on the Mutron. I don't suppose there can be a more funky-sounding filter than the Mutron.

I had Silver Slaps on my bass until recently (Innovation Honeys on there at the moment). They really are great for slap, they have a great trad sound to them, very warm and thumpy. They are really easy to play pizz and surprisingly loud, but I found they felt a little bit too light. Also the surface of the string feels a bit weirdly textured - it's like playing fuzzy rope - but if you can get past that they are nice strings. They are terrible bowed though, especially the G and especially in higher positions, it just squeaks and creaks. I was meaning to try the Super Silvers which apparently have a similar sound and feel but are some way between the slaps and a 'light' pizz string in terms of tension. I think they would definitely be worth a go. FWIW I really like the Honeys as a pizz/arco string, they feel a little more malleable than Spiros and don't growl so much but they do have a nice 'ping' to the start of the note to make up for it. Best played hard IMHO. They're light enough for the odd slapped tune but sound a little too bright and snappy really, and if I was doing a whole set busking I probably wouldn't want these strings on (I sort-of put them on as 'winter' strings since I won't be taking to the streets in this weather!). Generally I've been impressed with the two Innovation sets I've used so far. They make some good stuff.

[quote name='charic' timestamp='1328612612' post='1529856'] I noticed a pattern too! 3, 5, 7, 9, 12, 15, 17, 19, 21, 24 They have dots on them [quote name='lettsguitars' timestamp='1328612698' post='1529861'] fixed [/quote] [/quote] Fixed.

[quote name='silddx' timestamp='1328536093' post='1528592']So is their quality control mate. Everything from accuracy of fretscale, neck fit, routing, finishing ..[/quote] Yeah I would never hold up Fender as a quality brand, but there are makers out there with sensible prices and consistently high build quality. Yamaha for one.