Nicko

I have tried and failed. Admittedly I give it a go and it sounds pants, so I stop trying. Is this a technique anyone can aquire as long as I put in the hours? If yes, where should I start.

......to ask what's on (or should be on) the Basschatter Xmas wishlist? Personally I hate giving people ideas for Xmas presents. If its somewhere between 10 and 50 quid and I want it, I've probably already bought it. If its more than that, I can't really ask someone to buy it for me.

My recently purchased Squier 70s CV PB appears to have an issue with the socket. When plugged in, if the lead is moved slightly I get a pop or squeal, suggesting either a short or a dry connection. Should I just return it to the shop for investigation rather than attemptng to locate the fault and fiix it myself. I'm worried that if I attempt a repair I will invalidate the warranty - I haven't touched a soldering iron in probably 30 years. On the flip side I dont want to trudge all the way there for something that I could sort out myself. The shop is central London so the best option is a near hour round trip.

I think there is a subtle but significant difference between Squier and Epiphone. If you click on the Fender website you will see Squier products advertised under a Fender logo'd page, this doesn't happen with Gibson/Epiphone. I think describing a Squier as a "Fender Squier", or "Squier by Fender" is perfectly acceptable. On the other hand describing a non Fender/Squier as a Precision Bass, or a non Gibson/Epiphone as an Explorer Bass is incorrect

I avoid it, like the plague. I just feel my fingers are too fat. Unless I'm playing on the top string or the fingering gets too difficult I will normally move the whole thing down the board and up a string. As soon as I see double digits on a tab sheet, I'm already thinking how to play it lower down. This has become such a habit that I will regularly play everything below the 10th fret or so. This got me to wondering if there is any real technical difference in playing higher up? Aside from using an open string in place of a fretted note I can only think of positive things.

As a bass player, the drummer is my most key component in any band. I always help with set up and carrying, and currently have a stack of cymbals and a snare in storage because the poor lad is lacking transport to practice at the mo. I reserve the right to rip the p*ss as much as I can get away with though.

[quote name='ahpook' timestamp='1476311850' post='3153339'] I think I do, but I'm just going to sit quietly in case anyone asks me anything.... [/quote] Its not clear whether the OP is referring to - i think it means when can I play a b7 instead of a maj7 and get away with it. The answer is whenever you like. Sometimes it will sound OK and sometimes it wont. From a theory point of view if you create the secondary chords from the main song key it all shakes out (ie in Cmaj songs you only play the "white" notes on a keyborad) and any chord constructed from these is correct. But if you want to play a "black" note in a Cmaj progression you can use it as a passing note or as a dissonant harmony note. But, as a bass player you have control, and if you choose to play a I,IV,V,b7 against the guitar playing I,IV, V chord progression you will in effect have turned their Cmaj song into a C Dorian modal song.

I never really wanted one of them, but I borrowed a Squier P when my bass gave up at a practice. It souunded great and from that moment on I was hooked. I now own a US special and a Chinese Squier 70s reissue, both of which have the sound but slimmer necks. I traded in my old bass for the Squier and am now an all P player

I use one of these, but no 12V, only one 18V. [url="https://www.thomann.de/gb/xvive_v19_micro_power.htm"]https://www.thomann.de/gb/xvive_v19_micro_power.htm[/url] This looks so similar I cant believe it, and swaps the 18V for a 12V [url="https://www.thomann.de/gb/mooer_micro_power.htm?ref=search_rslt_mooer+power_333682_0"]https://www.thomann.de/gb/mooer_micro_power.htm?ref=search_rslt_mooer+power_333682_0[/url]

Sometimes i want to see a band, sometimes I want to have a chat. The sign outside that says "Live music here tonite" is a clue.

Unless they are very pissed I dont see why not. The fact they are asking to pick up a bass rather than the six string probably means something.

[quote name='Grangur' timestamp='1475244266' post='3144363'] Then why do no 2 identical spec Fenders sound the same? And if I'm wrong, why do Fender players keep GASsing and buying and selling almost identical basses? Oh, I get it, variety in paint colour. Besides there's no other difference is there? [/quote] I agree. I should have said in my original post the two basses I have sound slightly different, but they are both clearly Ps

No, not another fan question. Everyone knows what a precision sounds like. Given that my 2 precisions are entirely different in terms of construction and finish, why do they sound so similar? One is Alder, with Alico pickups, vintage bridge + saddles and gloss urethane finish, the other is basswood, standard Fender pickup, hi-mass bridge + brass saddles and gloss polyester. Yes, they are both the same shape and have maple necks (of different dimension). Are the P characteristics really down to the split pickup and its placement relative to the strings and bridge? Edit: The magic appears to be their ability to throw together any old parts and still make the same basic sound.

[quote name='JTUK' timestamp='1474988389' post='3142081'] You need drive and you need focus. Then you need innate talent which some have more than others. None of this matters much if you are already where you want to be. If you are writing about it, I'd be thinking you aren't happy....? [/quote] I think I am. I've been thinking a lot about this recently due to the olympics, where the athletes are not only physically gifted and specifically talented but are willing to give up everything else in search of being as good as they can possibly be. I lack the need or the drive to get better and enjoy doing what I do as the level I'm at.

I'm an OK bass player. I keep decent time with the drums and play covers pretty much as the originals. Its unlikely anyone will ever come up to me and tell me I'm a great bass player. Thats fine with me, as long as they think the band is great. It might be because II have never excelled at anything in life (except my job which I dont really enjoy and I'm currently unemployed anyway),. I keep telling myself thats because I just haven't found the thing that I do better than everyone else but really I suspect its because I lack the dedication to push myself further and get better. Is this normal?

To me having flat fingers with the thumb behind is toally unnatural. This may be because I used to play 6 string, but even when I pay that I avoid full barre chords and prefer to play 3 or 4 note inverted chords or open position.

[quote name='gapiro' timestamp='1474035669' post='3135187'] The solution of - whatever works for the band works for the band Possible Solutions : 1. One person owns pa, agreed amount paid for every gig. 2. More than one person owns pa, agreed amount paid per gig. 3. Band funds soundman to bring PA to every gig. He either charges for his time and band owns PA (with appropriate agreement for in case of band split in place) or charges for time + PA. 4. Something that works for you. [/quote] I dont get why the PA should b chargeable. I provide my instruments, rig, pedals etc without charging extra. If I need a set of strings I dont expect the band to chip in.

If I had the cash and liked the bass players work yes. I the same way that I'd prefer to have an original piece of art rather than a print. Looks the same, does the same, but one is just a bit more special.

Marley couldn't have been that influential if the "fab" four didn't rip him off, sorry I mean incorporate his style in their own music.

Bought a squier CV 70s P Bass yesterday, as a back up to my American special. I tried it I the shop and liked the sound, but not the looks. They offered me a £250 trade in for my old pank the deal was done. Got it home and played it through my old practie amp. Didn't sound anything special, but its a back up after all. Tookit to practice last night and it sounded totally awesome. I've used the same rig (Ashdown MAG 300??) with my main bass and every now and then it sounds brilliant, but last night it was just plug in and "wow". I shall no dount be searching in vain to recreate the sound with my gigging set up, but if I get anywhere close the american will be getting little use.

I tried the one they had in stock yesterday. Although I liked it and the looks were great, IMO the Classic Vibe 70s was noticeably tighter sounding. I didn't really want a maple board, not keen on block inlays and didn't want a black P, but I'll put up with all that for a better sound. So the 70s is hanging on my wall right now.

Seems to me that Fender will do what they have done constantly, move production to a lower cost factory and charge the same money for the series. I agree the range is too complicated, but getting rid of the standard series would make that worse because you'd have to go with something that is not the base model if you want a us serial no..

Lately, I've been struggling with Walk This Way by Aerosmith. Its one of those bass lines that hard to identify and internalise. Secondly its all 1st and 3rd frets exposing my poor technique and requiring alot of pinky work because I cant sustain the speed using the (correct) ring finger. Thirdly its got a rhythmic variation between the first and second phrases which I find throws me off course. Lastly I I find it easier to to play the verse/hook with fingers but really need a pick for the chorus. All in all a right b*stard to play, and I dont even like the song.

As a former lecturer, I'd say what you need to do is understand how the project is going to be marked. I'm assuming you are not doing a marketing course and therefore the uniqueness and sale-ability of you concept is likely to attract few marks, whereas the design and construction will give you plenty. If this is correct you can simply identify something you feel would benefit you, not the market. Of course these days an environmental concept (making something that exists already using greener tech), or manufacturing benefit (a la Henry Ford or Leo Fender) is normally a key marking criteria.

Swing Low for the winners obviously. Bread of Heaven or Green Green Grass of Home for the welsh. 500 Miles for Scotland. Dont know about the others but I'd suggest releasing a live cockerel and playing Runaways by the Killers to the French.