EliasMooseblaster

I think it depends very much on the jam! And even then, once you've settled on a jam you enjoy going to, it can vary depending on who turns up. Although yes, typically the bassists don't get too much chance to solo and often find themselves supporting some guitarist's little ego trip - but that can be as boring for the audience as it can for the supporting musicians.

Jools Holland. (Even if he does spend most of his time insistently playing boogie-woogie piano over half the bands that turn up on his telly programme - but his name is certainly more widely known than Squeeze.)

As someone trying to effect a similar career shift myself, this has made for very interesting reading. To the OP: I'm not in the singer-songwriter side of things myself, but I read this article this morning. Won't teach you how to make ends meet, and some of the points may seem blindingly obvious, but it might help with the singer-songwriter act: https://musicclout.com/contents/article-418-why-your-acoustic-show-doesnt-have-to-suck.aspx?utm_source=Potential+Members&utm_campaign=cde7d1d1ea-Acoustic_Show4_25_2014&utm_medium=email&utm_term=0_4bb296eccb-cde7d1d1ea-304033113

*picks up tin labelled "worms."* *picks up tin opener* David Gilmour. *runs*

Hello Boys... Annie (above) is quite possibly the nicest bass I've ever played - certainly the nicest I've ever owned. She had actually completely cured me of GAS...at least until you rotten sods started showing me all these pictures of SG-Zs!

Even more footage! We held off posting this one because t[color=#333333]oday is Record Store Day, so we thought we'd commemorate it with some footage of a band playing live, nowhere near a record store. Enjoy.[/color] http://youtu.be/WsWxzQfo_1s

The first bit of video footage from the Troubadour gig (with many thanks to Silvia for filming!) http://youtu.be/i7v90m6DoyU

Does it have to be exclusively bass guitars, or just the ominous output of brooding low frequencies? Skip to 3.00 to see what I mean, or play from the start to enjoy the build-up. http://www.youtube.com/watch?v=3odLBZ-Ju3c

One key thing to bear in mind (we had to deal with issues of ownership recently): in the absence of an agreement, the [i]recording[/i] is jointly owned by all the people who paid for the making of it. If you managed to get the session done for free, that may be a little more nebulous, but I would have thought similar principles would apply. If you paid any fees afterwards for mastering and/or replication then that would (probably) also count. The long-and-short is that he (very likely) can't release the EP without the permission of the other band members. The tricky bit is the ownership of the songs. If all the songs were written by your singer, he can re-record them and then won't owe you anything. If they were jointly written, he'd need the permission of all the people who have a writing credit, and royalties would need to be agreed upon.

[quote name='Woodinblack' timestamp='1397652629' post='2426061'] Sorry, there is know way that you can tell how many people gave up the guitar due to it being the wrong way round than there of knowing they just gave up. How do you know the difference caused by handedness? You don't, same as me. As it happened, yes, I learned to play left handed as the first guitar I had was round my mates who was left handed. Then I learned right handed because my sister got a guitar and it was the other way round. Honestly I have always thought it would be better the other way round. Why is my dumb hand doing the difficult fretting part where my good hand is stuck picking strings? So how about orchestras? I know two left handed violin players and 3 left handed pianists. So why didn't they give up when they started? None of them seem to have an issue. Or is it that guitarists / bass players are so precious that things have to be the other way round. as the guitar should be. [/quote] Just a thought - as someone who also started off on the piano: did you find that learning the piano made you, in some way "a bit less left-handed"? I know I was a clumsy, malcoordinated southpaw up to the age of 11, who was unfortunately reinforcing all the negative stereotypes of left-handed people. After a few years trying to coordinate both hands across a Joanna, I found that whilst I was still definitely left-handed, the left hand wasn't quite as dominant as it used to be. So much so that I completely forgot about my handedness when I went to look for my first bass. In that respect, I consider myself lucky. Did these left-handed violinists also have (right-handed) piano lessons to begin with?

...gonna keep her 'til the end." (Deep Purple - Highway Star) "I am at the centre of this universe, wind of time is blowing through me...

As the owner of the long-scale version (Epi EB3) I will warn you...they're an acquired taste. If I surmise correctly from your pic that you normally play a Jazz, you'll find the tone [i]very[/i] different! But if you're after that Jack Bruce / Andy Fraser type tone, you could do a lot worse for £50-odd. As someone who acquired the taste, I think they're great basses. I was after a Quadrophenia-era John Entwistle tone, couldn't afford a Gibson, and found the EB3 got it closer than the Epi T-bird. Give it a shot, you may surprise yourself!

[quote name='njr911' timestamp='1397466189' post='2424057'] I watched The Who - Live at the IoW Festival (1970?) on You Tube at the weekend. It's an amazing gig and well worth a hour and 20 mins of your time. What I did notice and have noticed in the past from watching his playing is his unique technique. Hi picking fingers flying everywhere. How does he play so well and quickly ? They guys a legend! [/quote] My playing technique to this day is largely inspired by (lovingly ripped-off from) watching the way he plays on that video. That, and my bass collections has centred around Precision-style basses for that Live at Leeds/IoW tone, and Gibson-style basses for the Quadrophenia/Who by Numbers tone. That "typewriter" fingerstyle is definitely something worth mastering - you may find the strings feel a bit "spongy" if you're striking that close to the neck, but it does make them sing a bit more. High gain, and roundwound strings "on the other side of the frets" are also helpful!

[b][i][color=#222222]"I'm skint and in debt, a perfect time to buy a Fender jazz right?"[/color][/i][/b] Wrong. [s]If you are skint and in debt it is the worst possible time to buy a Fender jazz ...or any other bass. Play the bass that you already have, concentrate on the art of mastering the bass and become a better player instead - it's free.[/s] Get a US Std Precision. [b]Sensible answer: [/b]yeah, for god's sake don't max out your credit card on a bass you can't afford. Someone close to me did something very similar years ago, which led to payday-loan-type companies and trying to use one credit card to pay off another. It wasn't a pretty sight. But yeah, I hear good things about those Miller Jazz basses!

[quote name='Shockwave' timestamp='1396729365' post='2416911'] Now adding the burst effect. [/quote] I think Mr Takei puts it better than I ever could: http://www.youtube.com/watch?v=6nSKkwzwdW4

Cheers Silvia, there are some fantastic shots in that first set! Thread duly created: http://basschat.co.uk/topic/234365-cherry-white-eliasmooseblaster/

...and I'll pop a placeholder here in case any footage surfaces from the [b]New Cross Inn gig on the 26th March![/b]

Probably about time I started one of these! In an attempt to keep this in chronological order, this one was taken backstage at the first gig with our new singer: [b]The Spice of Life (London), 25th Feb 2014. Photo courtesy Alex de Torres.[/b] [url="http://userserve-ak.last.fm/serve/500/97242355/Cherry+White++MkII.jpg"][/url]

Really quite marvellous, was the ol' Troubadour last night. Cherry White shared the bill with Dani Molino, whose band features none other than Happy Jack on upright bass. Very nice to meet Jack and Bluejay, and the music was excellent - opening acts Vera Black and Erin Mortimer are definitely worth checking out as well. And the venue fed and watered us before we went on - not something I've come to expect from most venues, so that was a pleasant turn-up! And ultimately, a great crowd and a great atmosphere made for a great evening.

Thank you both, we had a smashing time last night as well. Jack, the KK Baby Bass sounded absolutely lovely (must have been that nice amp it was going into!); Silvia, looking forward to seeing the photos! Lovely to meet you both.

As someone else said in one of the related threads (and possibly here as well) these "rules" are more like widely-followed guidelines than scientific laws. Depending on whose transcript you pick up, for example, I've seen Pink Floyd's [i]Money [/i]written out in both 7/4 and in 4+3 / 4. (Somebody told me this was because conventionally, 7/4 is emphasised as 3+4 / 4. I don't know whether I believe this person, particularly because I didn't think there was enough music written in 7/4 for there to be a broad "convention" on the matter!)

In a similar vein: http://youtu.be/PAhQ2F56Gn0

Yep. You should all definitely get along to this one. It's going to be awesome.

[quote name='achknalligewelt' timestamp='1396969201' post='2419252'] Is it one of these 9/8 + 7/8 + 5/4 + 3/4 constructions? Because I counted those whole beats in the guitar part, and dammit there were 16 of them! [/quote] Try following the hi-hat instead: after the vocals come in, it's three bars of 7/8 followed by one of 4/4. (The choruses and the drum solo are just straight 4.)

[quote name='toneknob' timestamp='1396965633' post='2419189'] The verses sound like alternating 7/4 and 15/16 (or 7/8 7/8 7/8 4/4 if you like) [/quote] Your bracketed guess is correct! Unfortunately I don't have a prize to offer you.