JamesBass

I've come to the conclusion that I'm ready to take on a function band after spending the last 5-6 years trying to play original stuff exclusively, sadly I've had FAR too many changes to really make any significant progress, though I still want to be involved with original bands and to write and develop my own music. I've only ever done function/covers bands with mates before and that was a while ago now. Where can I find a dedicated and fairly professional function band? I've tried Join My Band etc as well as local music stores where else can I try?

Going in to my local shop and the Young girl didn't even know what flatwounds were when I tried to see if they stocked any! I was after TI's as well so god knows what she'd have said if I asked for those specifically! 99% of the time I buy online as it's cheaper and there's ALWAYS some in stock!

Originally the "Foam" Fender used was weatherstripping. There are loads of threads on it over on the Fender Forums and some EXTREMELY knowledgable people on there!

[quote name='JTUK' timestamp='1419172013' post='2637176'] I'd pick harmony as you either have good groove or you haven't... Not really something you can get ... sure you can focus a bit better but study..?? Soloing over changes is something a lot of bass players never get and that would add a string ..but groove is what you feel so I am not sure you can learn it as such. Having said that...groove playing gets you more gigs, IMO, but jazz harmony wont hurt you to have. I'd be interested how you can learn groove off the bat..??? or in a classroom and who would be teaching it... [/quote] As you say groove is something you have or don't. I'd say I groove pretty well, I prefer to sit behind the beat than ahead but there are still things I can develop, like playing over changes more fluidly and playing in different t time sigs or playing different time sigs over 4/4 etc. As for how do you work on it/get taught it, it's VERY self-directed with input on what I should practice and how to approach it. While I'm with my bass lecturer, who's a pro player as well as lecturer, we work with a metronome and work on internalising certain aspects of playing and making me aware of what I do as a player. Eventually I would like to do my masters, probably centred around Jazz composition or performance so that's why I like the idea of really having someone help push me with my jazz harmony. Plus I really love Jamersons chromatic approach to playing and note choice and that's clearly something from his jazz days pre-Motown. But as everyone knowa and says, groove is what gets you hired and that's something worth working on and recording down as sound samples and video for a CV. I can always find someone to learn with after my degree while I take a few years out before my masters!

Anyone got one? They look SPECTACULAR!

So I've been playing for about 11 years now, and I'd say I'm pretty good across most aspects of my playing, but I know there's still A LOT more I need and want to learn. So because of this I've had a very varied practice schedule, daily I practice as much as I can on as many different things as I can. Theory, groove, repertoire etc. however for my music degree I'm now being asked to find a personal approach to playing. A way of specialising in an aspect of my playing. I'd consider myself an adaptable and broad player, I can't/don't want to be a slapper and have never focused on learning it but I do play a wide range of music, the only other thing I really think I lack on is having the ability to play independently in terms of polyrhythms, I get distracted for a second and result to overthinking things and loose track of what I'm doing. Now for this project at uni I've gotta focus on one aspect of my playing ie; harmony, specifically Jazz harmony etc. or rhythm, ie; a grasp of groove and timing focusing on pocket playing; pulling and pushing the beat etc. as I said I feel I need and want to learn a hell of a lot more musically and had been progressing well with becoming a broad well equipped player, but for the next 6 months I need to focus on one aspect of my playing and I'm not sure which go pick!? My choices are; Jazz Harmony - I love jazz playing and the approach to note choice and harmony and melody can be spectacular! The other choice is focusing on rhythm and for me I'd focus on groove, looking at pushing, pulling, pocket playing, and odd time sigs. What should I do?!

I thought I really wanted a sunburst or LPB 66 P, very lightly relic'd and only tarnished chrome-wear. But I've just seen this on Mark's website. I'll let it speak for itself. http://classicandcoolguitars.co.uk/basses/limelight00142shellpink.htm

[quote name='spacey' timestamp='1418984234' post='2635417'] Where nobody has disagreed with me is that Fender have brought this on themselves, they are losing customer loyalty and making the wrong products at the wrong prices. [/quote] I'll agree with you on that. I tried to get my head round the basses that Fender do and it's just too damn confusing! There are so many lines and models and all fairly similar pricing! I'd love to have a look over their sales figures with them in hand it can't be hard to sort out their mess! Though on your point about how well they control their IP and the such, I don't want them to become Rickenbacker esque and try to sue everyone who even mentions bitsa basses.

[quote name='spacey' timestamp='1418915813' post='2634810'] The one I initially saw was unbranded, I was not stating that Limelight are the ones responsible for the counterfeiting ? I was of the impression that they were bista basses and people were applying their own logos ? Surely they are not leaving the workshop branded ? Some suggest they are ? [/quote] Why does it matter then if people apply their own decals? What's the issue? If someone pays £1000 of there own money for something they value at £1000 then that's their choice? You keep using the word counterfeit, but none of these basses are actual counterfeit? 99% of the time people who sell the basses on are very true and state it's a parts build or a "bitsa" you get the few who don't own up to things, but very few do that and they're usually weeded out. Mark did once build the basses with the Fender logo's but in the summer he ended logo-ed production and left it up to whomever buys his basses. When I finally buy mine I'll be getting mine without the logo. I can then add one if and when I'm ready. Sue me for that choice.

[quote name='Rick's Fine '52' timestamp='1418832965' post='2633853'] Here's my new 'old' '53, barely a mark on it; [/quote] Jesus! I really don't know how you manage to find these basses!? That 53 and 55 are gorgeous! How does the 53 compare to your 53 build? Likewise, how does the 66 compare to the 66 build you did?

[quote name='spacey' timestamp='1418811340' post='2633504'] Seeing some of what I could only describe as "ridicules" prices on mainly counterfeit or snide mock up Fender basses. Are people really prepared to pay nearly a thousand pounds for what is a counterfeit vintage period snide instrument . The value of a vintage instrument is in that it is not in production and thus rare. Counterfeits are produced daily and whilst fetching such ridicules prices I can see bodge up bass bandits are going to go all out in the counterfeit department, turning £150 bista basses in to logo rusty metal and sander attacked counterfeits, many of which look like Abu Hamza has played them on a 200 date world tour. What floats peoples boats, but a who pays a grand on a fake instrument ? Are people really that desperate to fool people on stage that you have a vintage bass that they will pay such money ? Baffled I am. Discussion ? [/quote] So you've started a discussion about relic'd/copies/fakes/snide basses? But then your whole tone when discussing this has been extremely snide? FWIW, everything we do is down to choice. Just because something is against a rule or is morally not right, doesn't mean you can stop people doing it. Mark at Limelight produces instruments that are head and shoulders above MANY of the upmarket basses I've played. Fender themselves and their customers has caused people like Mark to offer what they do, while it isn't right having a Fender Logo on one of Mark's basses, the logo's are in the public domain to purchase from shops so why can't Mark put a logo on one of his basses if a customer specs it? He also puts his logo and serial number on the rear of the headstock. The Neck plate issue is again a non-issue, he's not copied Fender numbers to my knowledge and nor is he likely to! I appreciate that this style of bass may not be to your tastes. It is however, VERY popular, his basic price starts from £750, where as Fender's own Custom Shop seem to come in around £2K, it's also a LOT more impersonal, but if you want that personal touch from Fender then double that price! If you want a 60s or 70s bass then you need to budget a MINIMUM of £2.5K. Is it worth that? Who knows! I paid £1800 for my rickenbacker 4003 walnutburst, it's an incredible bass and sounds and feels amazing, however the following year I bought a second hand MIM P for £250. The P is actually my number 1 at the minute. To me its worth £1K easily, I could NEVER sell it for that as someone else wouldn't pay that! But in April of this year I played the ONLY bass that has ever screamed "I'm yours to me" I literally had nightmares about the price though. £6K for a 1966 Fender P!! Is it worth that?! No, not to me however within the month that P had sold, someone thought it was worth the £6K. This particular bass has been owned by some on here and is ABSOLUTELY flawless minus a few insignificant dings. My P has more dings than the 66. The difference is the 66's neck was utter perfection. It was comfortable and just homely to me! So imagine my delight when I'm told I can get the same feeling from a modern day replica for only £750. I don't care if it has the Fender logo or not. I just want a P bass that has my perfect neck without having to not eat for a few years. There's no harm in that surely?

I'm based in Portsmouth, well slightly north of Portsmouth in a place called Purbrook and my local has live all the time, in fact most pubs within the PO post code now offer live music. However there is a RIDICULOUS number of bands. Within Portsmouth itself there's a thriving original music scene, it's becoming a bit "Brighton" in terms of the vast number of bands and acts. Covers bands and function band wise there's still scope for it, but you'll have a hard time if you start a new band as there are many long serving bands out there. Further East towards Worthing, Bognor, Brighton, there's LOTS going on, Chi has a blues scene and a good Jazz scene with the Uni there, Worthing is about as eclectic as you can get and there are some really good venues there! Brighton is the place to aim for if you have serious ambitions as a player or as an original band. Back West and Southampton is suffering with a lack of good venues. It's also got a very narrow scene. In terms of originals it's either punk or metal derivatives and not much else, function band wise it's pretty good, though you may struggle due to the cruise ships being based there and lots of bands try and get noticed there. Slightly North and Winchester has always seemed quiet music wise, I've never really had many gigs there. Eastleigh which is near enough Southampton, is a pretty ok, more pub covers bands but it's decent enough. Never had much experience down in the Forrest and Dorset way but from what friends and acquaintances have said, it can be hit and miss. Probably best to not listen to me on that area! Best of luck though!

D'Angelo has finah released his long awaited follow up to Voodoo. And the good thing is that this new album lives up to expectation! It's a MUST for ALL bass players! The Black Messiah. Go! Go listen and be wowed!!!

Stunning! Not a bad price either!

Just have a jam! Or take some classics like The Beatles and work out a fun way to play then?

This is a very common thing to do. Just stick a few accents in there and maybe change alter the feel slightly and you're fine!

So my Planet Waves cables has been playing up lately and I think in the new year I should invest in some new cables, not sure I'd stick with Planet Waves this time though, so what's out there? I've seen some videos/articles saying Asterope cables are great, along with some pretty lofty claims by the company themselves! Anyone had any experience with these?

BB King, Albert King, Albert Collins, Elmore James, Gary Clark Jr., JJ Cale, Howlin' Wolf, Hendrix, John Lee Hooker, John Mayer and the John Mayer Trio, Muddy Waters, Robert Johnson, and even Steely Dan (Peg is a 12 bar) The blues is wide and varied and exceptionally exciting and just as equally boring at times. Having a wide exposure will help kick all the boredom away no matter what the style you play!

Been teaching for most of the day today and more than ever these strings have wowed me! The feel and tone is just spectacular, I regret that it's taken me over 11 years to try them and any flat wounds for that matter! I shall never go back to rounds so long as I own a P bass!

D'Addario EXL190, the Balanced tension ones are pretty awesome too!

Take a look at the guitarists set ups, note down their EQ's and if they've boosted their bass then tell them to not do that. You're the bass player that's your sonic territory, a good example of the bass and guitar being extremely respectful is Chic. Nile doesn't even tend to play the root note he leaves that for 'Nard. Also make sure you don't add too much bass. As WOT has already said, mids are your best friends!

[quote name='StringPing.com' timestamp='1416846817' post='2614220'] I'm going to stick my neck out and say that there's probably not a retailer anywhere in the UK that can compete with Thomann prices on these strings. The thing to remember about Thomann is that they're in Germany, and getting the strings from there to the UK isn't cheap. €10/£7.90 for delivery from Germany. Suddenly, a £32 set of strings is actually closer to £40. I couldn't say what price we'd have them at, as I haven't worked any of this out yet for StringPing.com, but one thing is for certain - they would have free 1st class delivery for BC members, and free 2nd class delivery for everyone. As for your local not stocking flat wounds - they aren't alone. Lots of regular music shops don't stock them because they take forever to sell. [/quote] You are correct, every UK stockist was upwards of £45, and while I paid the €10 postage on the strings, it was still cheaper than either travelling or getting some posted from a UK supplier, I'd happily part with £40ish for a UK supplier, especially if I then got the postage free!

[quote name='HowieBass' timestamp='1416848354' post='2614247'] This will come across as total pedantry on my behalf but I really wish they'd stop calling this type of image a hologram because it isn't one; it's a modern version of the Pepper's Ghost illusion. *physicist type rant over* [/quote] I wholeheartedly understand your physicists rant, it's what I used to study before swapping full-time to music! But you'll never get someone from these tech companies admitting it's not a hologram in the current guise as it's a cash making cow potentially!

[quote name='TimR' timestamp='1416840976' post='2614124'] I've not seen the hologram thing. I do feel a bit uneasy about tracks released after people's death of unheard/unreleased material. The latest Queen song and the Micheal Jackson song. They personally don't have any input to the final production and why didn't they release it in the first place? Was it not good enough or did they just run out of time? I think there is some Jimi Hendrix material recently found as well. So hologram wise it would depend on whether the artists would have been happy to use their recordings in this way. Wasn't there a Les Dawson show on recently. I don't think it should be billed as live and specifically a tour it shouldn't be exclusive like it would be if there was only one artist and command high prices as a result. The performance isn't going to be live and individual on each performance. Similar to a lot of artists who mime. I wouldn't go to watch an artist who mimes and wouldn't be happy if they did at a gig that was promoted as live. Anyway - some steam of conscience thoughts from me. Hope they're useful. . [/quote] Indeed useful! When I watched the Jackson performance from the billboard's I felt a horrible chill run down my spine, none more so than when the crowd rose in applause at the end of the performance?! It most certainly felt wrong to me, even if I was watching what is essentially a video of a video?! Video-ception? On the note of improvisation this is my biggest bug bare with the whole hologram thing. Let's take Hendrix for instance; his performances were wildly different and the audience never knew what they were going to see, and that gave him that huge reputation! His improv and unpredictability is what made him legendary, and even now when you go watch bands perform live, as an audience member you do want to see some cool, almost one off bits, as that's what makes a gig/tour the stuff of legend and envy. Seeing a dead musician perform a track exactly as it's recorded and paying modern large venue prices just seems like a money making drive that only see's a few people win, while many lose out. [quote name='KK Jale' timestamp='1416841638' post='2614135'] Never seen a hologram at a gig, but I did once go to a very weird Elvis concert/tribute which featured the original band (James Burton etc) plus Elvis on a massive video screen plus his original vocals. Hey, I had a free ticket Kinda a technological precursor to the hologram idea, so maybe relevant to research... [/quote] Exactly that, it was a precursor to the new hologram's it was something they used at the London Olympics with John Lennon and Freddie Mercury/Queen. I've always viewed such a thing as a "Vegas Gimick" personally.

[quote name='StringPing.com' timestamp='1416830992' post='2613933'] I've strung violins with TI strings before. It's hard to tell with such small strings how it relates to bass strings, but I always did get the impression that they were kind of floppy for flat wound strings. As for the tone - there's probably no chance of a comparison between a violin and a bass, but they do sound good on the violin. I'll order a set for myself. They aren't cheap, though. It might be after christmas before I can get a chance to try them. I'll have to rebuild my Jazz bass [/quote] I know it's almost blasphemous to say, but Thomann are without doubt the cheapest for buying TI's, I got my set for £32. Which is an absolute BARGAIN! Obviously I'd much rather buy from a shop or a UK based company, but when you live in an area where flat wounds aren't considered important enough to stock then needs must! I know for a fact that I'd buy my strings from a UK company if they were competitive in pricing. (Hint Hint)