Doctor J

Slivadiv by Back Door featuring the wonderful Colin Hodgkinson. I can't find it on youtube so here's Human Bed in it's place [media]http://www.youtube.com/watch?v=Cf5BPZTdtV4[/media]

Superb collection. You've a thing for Streamers then?

Nice!

Delighted for you, good work, fella!

No. Got a set of webstrings on King Billy and they're horrible. Can't wait to get a set of Elixirs on there and hear what the new pickups are capable of becuase cheap strings suck balls.

Just roll the ship out of there and be done with it. Who's going to win in a fight, your ship or some Belgian red-taper waving a piece of paper at you? This is serious business, go get your bass.

I think it's proportional to the level of interest you have in the band and music. If you're enthusiatic and like the music, you'll find it a lot easier to learn and remember. By contrast, if your heart's not in it, it goes in one ear and out the other. I had a similar experience to above, where I was subbing for a friend and had to learn a whole cover set of tunes I had never really heard before in an afternoon. I told him I'd do it so I was determined to get it right. With a couple of cheat sheets I got through the whole thing without any howlers and, at the following gig, was giving the drummer nods where the changes were. At the moment I'm recording an album of tunes I wrote almost twenty years ago but never got to record properly at the time, my brain is well capable of dredging up these riffs I haven't played in so many years. With some interest and focus your brain can do amazing things, it's when you're just going through the motions that you'll find it hard to learn and remember. An example - in my last band I became quite disillusioned with the nonsense going on and had decided to leave once a run of gig commitments had been fulfilled. We were playing the final of a competition where the prize was a spot at the Wacken festival. Anyway, during one of the tunes I could not for the life of me remember the next riff so I took a guess when the time arrived and f***ed it up spectacularly. That had never happened my before but I had lost interest in the band at that point and I think my brain was just flushing the information down the bog. The worst part was that I wrote the bloody song in the first place

Peavey stuff is usually decent, cheap and reliable. Maybe Norfolk folk are too

That guitarist really does give love a bad name. Meh, our singer walked out mid-song once. You don't stop the tune though, it's unprofessional.

Ahhh drummers There's nothing more awkward than playing with a reactive drummer, the guy who doesn't lead cos he doesn't know the songs and instead follows bits of whatever instrument he can hear at that point and makes unexpected changes accordingly. I spent many years in and out of a mate's blues band, subbing whenever their latest bassist quit until they got a new one. Drummer was unenthusiatic and entirely reactive as a result and it really was an eye opener because not only was the bass keeping the tempo in check and leading the songs, you also had to be on your toes to react when he'd lash off into a different section late or end the song early, fun stuff like that. It never bothered the guitarist, funnily enough

[size=3][font=arial,helvetica,sans-serif]http://www.jlguitars.com/[/font][/size] [size=3][font=arial,helvetica,sans-serif]Came across this guy a few weeks ago and, since I was looking for something to replace the DiMarzio Ultra Jazz set in my home made J bass. I decided to take a gamble and see what he could do as his prices are very decent. Just a quick look at the coils lets you know they're very definitely handwound. I installed them today, first impressions; I like them a lot, a lot closer to what I think a J bass should sound like than the DiMarzio's, which I found a bit too flat... maybe anonymous sounding. The Loureiro pickups have a very smooth high end, nice open sound to them, big fat low end and decent growly mid. The best thing I can say about them is that the bass sounds great with no EQ, which is the true test, whereas I always had to tweak the EQ to get to a nice place with the Ultra Jazz (and never really got to a sound I was truly happy with).[/font][/size] [size=3]He desicrbed them as "first era" jazz bass sounding[/size] [size=3][font=arial,helvetica,sans-serif]Specs were:[/font][/size] [size=3][font=arial,helvetica,sans-serif]Output 9k (bridge) and 8k (neck)[/font][/size] [size=3][font=arial,helvetica,sans-serif]Wire: 42 AWG Heavy Formvar[/font][/size] [size=3][font=arial,helvetica,sans-serif]Magnets: "Calibrated" Alinco 5[/font][/size] [size=3][font=arial,helvetica,sans-serif]Thumbs up from me, definitley worth checking out if you're on the lookout for a replacement pickup.[/font][/size]

I like it but it ain't that big a deal either way. Please don't dislike me.

Guitarist has to go, first. Been in this position in my last band, when you've got a guy who just isn't learning the songs or bothering his hole it just sucks the fun out of it. No matter how talented he might be, if he's not making and effort, he's not worth the trouble. Second, are you guys covers or originals? If originals I'd say stick to the three piece and use the singer's idiosyncracies on guitar as part of your sound. You do the rest. If covers, you've got to make an effort to replicate the original so if he can't play and sing at the same time to to a sufficient standard you're looking at another guitarist.

Alanbass1's white BB2024x. I've lusted after one of these since they came out and I'm still no closer to owning one. Jaysus.

Dammit. I need to buy more.

A scratchplate and any blade type of pickup (Bartolini, EMG, for example, tend to use blade magnets instead of poles) should sort it out. With a blade setup you can use any string spacing or number of strings provided the total width of the strings doesn't exceed the width of the blade. Check their websites for models and sizes.

On topic, then, I think the crappy amp is factored into the price he's looking for and, when you see higher end models aren't priced too high above £260, I'd bide my time and wait for something else.

I was hunting for a good SR800 for years without luck, til I finally caved in and picked up a SR1300 instead last year. Even still, I keep going back to look at that one but he's not keen to post so that saved Christmas in our house I quite like the colour but I could understand why someone wouldn't dig it

I wouldn't when there's a mega [url="http://basschat.co.uk/topic/157909-fs-today-only-l280-mint-1987-ibanez-sr800-japanese-4-string-bass/page__p__1435460__hl__sr800__fromsearch__1#entry1435460"]SR800 in the FS section[/url] for peanuts and you're not paying for the crap amp, too. The SRs are classic basses, every home should have one.

[quote name='Chris2112' timestamp='1321312720' post='1437819'] Here is my new Warwick, traded from Warwickhunt just a couple of days ago. It's an absolute beauty. It plays brilliantly, it looks fantastic but the real joy is the tone. I plan to get some new photos taken of it tomorrow. I've never been so excited about a bass since I got my ACG, which bodes well! [/quote] That is friggin' beautiful.

If you can afford it, I say do it. You can try the world of Wal and see if it's for you and, even if you pay for a refret, you're likely to make money on it if you decide to sell it on. Win win as far as I can see,

He's a very, very accomplished lead guitarist too but seldom gets the credit he deserves as a guitarist, purely because he can keep his ego in check and play for the tune. Every interview I've ever read he had a funny tale to tell, I'll be picking up his book for sure.

I'm delighted to hear he has recovered! Nile is a bassist's guitarist, if you know what I mean

Good call. I last played one of those about 18 years ago and I'm finally starting to GAS over them. There's something oh so wrong but still so right about them.

James Lomenzo's Yamaha is pretty nice - you could move a lot of air with that, I reckon.