neilp

I'm a classically trained (Royal College of Music) Double Bass player, so yes, I can sight read. It's a hugely valuable thing to be able to do. It gets you work, it helps you to understand what you're playing. Plus, if you can find the dots for the song you want, you don't have to waste all that time working it out!

[attachment=212036:IMG_20150719_180658.jpg] My 1980 SB1000, the nicest fretted bass I've ever owned

£200 - £250 sounds about right, I have a 60's Czech ply bass that I'm struggling to get £300 for, and it's got new Spirocores on! Neil

When I were a lad, learning DB in the early 80's, everyone - genuinely everyone - who sat down to play used a high stool and had right foot on the floor, right leg straight. When did the trend for lower stools and a "cello" type position start? I really can't get on with it, but maybe it's just me being old-fashioned...

It isn't, and it needs an awful lot of practice to get any kind of control. I've heard several players use this technique over the years, and can't think of one who could hold down any kind of rhythm. If you're willing to put in the work, go for it, but its always seemed to me a bit unnecessary...

For me, it's as much about what you don't play as what you do. I don't think you could improve Mr Clayton's bass lines by adding notes....

[quote name='TrevorR' timestamp='1453247874' post='2957909'] An old Boss CE2-B that I've had for something like 20 or 25 years... [/quote] Snap! Gives the Wal mwahhh even more mwahhh... Really nice pedal actually

Slightly bizarre when Mr Berlin has spent years telling everyone who'd listen how unnecessary 5-string basses are! Does look nice though, and I am tempted by the 4

More good advice. JFDI as they say....

To put my own mind at rest as much as anything, I've just tuned my bass down a tone (Bel Cantos on it, admittedly) and it felt exactly as I thought it would. Not much easier to play, just as dead as a doornail! No sustain, no volume, no thump, no nothing. For what it's worth! That may be just my bass's reaction to it. I still think you should get a new set of strings and just play for a while...

This is an almost impossible situation to resolve on the web. So many things affect how the strings feel. Age of strings, angle over the bridge, neck angle, string height - nut and bridge - string afterlengths, soundpost, tailgut etc etc. I would advise you get yourself a new set of Spirocore Weich and just play for a while. If you're still not happy, get it to a good luthier and explain the problem. I think you might be worrying too much

They were the perfect antidote to all those po-faced, humourless tossers who don't realise that Brian Pern is as much them as he is PG. No pretension, just straight-ahead boogie. If they really have stopped, it's a loss...

Don't do it, ever! I sold a Wal Mk1 back in the mid 90's when I was skint. Kept the fretless, sold the fretted one for.... £500. Should have sold my car, or frankly just about anything! It's taken me 20 years to be in a position to think about replacing that bass, so don't do it!

I'd guess either Herbie Flowers or John Paul Jones, but I have no way of knowing. You're right though, great playing

In the real world, let's face it, there is no such thing as a "cool" bass. In our heads, maybe, but in the real world?

[quote name='Vinny' timestamp='1454274223' post='2968201'] I'm still curious as to what would have happened if Terry Reid had said yes. I think I may be just [i]slightly[/i] behind the times. [/quote] Maybe a tad....

John Bonham in Queen might have been pretty cool....

Like. Buy strings or buy food? That was the trickiest one. I could always find someone to [s]steal[/s] borrow tools from, food was much more jealously guarded.....

In most of the bands I've played with, the guitar players have endless tools (or maybe they are tools.....), but yes, I do use all those things to maintain basses at home, that's why I don't need to take them to gigs! I have to say though, in the days when I toured, I did take screwdrivers, Allen keys, soldering iron, files etc

What the hell do you guys DO at gigs? 30 years of playing, never needed a tool at a gig. I have spare leads, a pair of 9V batteries and a roll of gaffer tape. Honestly never even needed the batteries

[quote name='TimR' timestamp='1454104451' post='2966594'] I'm confused. The only way this can happen is if you are playing 8 bars over the same chord. Otherwise you have to go back to the first bar as soon as he starts his solo. Unless he realises and comes in on the second bar and plays the changes with you. This is a situation where your theory comes into play. If you're playing the same chord you just have to watch him for his cue to say he's finished. He'll give the cue subconsciously even if you haven't agreed one. Or am I misunderstanding? [/quote] This. If he's ballsed it up you all have to follow, go with him. Music 101: start together and finish together, hope the rest sorts itself out!

I buy DB strings from Thomann. Don't know about Evah Pirazzis, but Bel Cantos are about £35 cheaper than anywhere else

First things first - buy a new cake of rosin! That'll eliminate one thing from the list of doubts in your mind! Nymans, Pops, Kolstein, whatever. Next, find a video on Youtube that gives you somewhere to start with holding the bow. Personally, I'd go with the French bow to start. I think it's easier for a beginner. Then give it a go! Try to use the weight of your arm rather than pressing the bow on the string, and keep everything - EVERYTHING - as relaxed as possible. Have fun!

"Best" get used unless there's a VERY good reason why not. Dings and scratches usually happen when they're not being played, in my experience, so good stands are a must.