TrevorR

[quote name='Hutton' timestamp='1451684943' post='2942530'] I would like to extend to you an invitation to come and play my 1984 Precision. It is a wonderful bass. You could then compare it with all the other 80s Fenders you have played which has allowed you to form your OPINION. My OPINION is that I would not wish to own an Ibanez Musician as I find them too complicated, heavy, and not pleasing to look at. Mind you this is only my OPINION. [/quote] To be fair on DrTS, back in the mid 80s (it is well documented that ) even Fender thought that on the whole late 70s and early 80s Fenders were a bit rubbish and just not up to snuff. Hence the introduction of Japanese production to try to beat the (much much better quality) Japanese copyists in their home market and take the pressure off while they bought up a few vintage Fenders to see what a Strat, Tele, Jazz and P-Bass were supposed to look like, retooled the whole factory and revamped the range. Great to know that you have managed to acquire of the peaches that were mixed in among the lemons. But most would agree (and the literature confirms) that there we a lot of lemons coming out of the Fender factory around then.

Horrible transfer but this track is a cracker! http://youtu.be/XauOTo-BKSY

[quote name='Dan Dare' timestamp='1451831007' post='2943751'] Anyone else have problems with people in bands who insist on wearing ear plugs? As a result of doing so, they can't hear subtleties or how loud they are relative to everyone else, so they crank the volume and the whole thing descends into chaos. When you suggest it would be better to take them out and for everyone to play at a sensible level, they bleat about damaging their hearing (they don't seem able to grasp that wearing plugs is only going to increase the problem, for others if not for them). Mad. [/quote] The problem here isn't with wearing ear plugs, the problem here is with band mates being unwilling to compromise in an intelligent way and being all uppity about it. [quote name='PaulWarning' timestamp='1451832019' post='2943767'] I can see the logic here, I always set mine and the bands volume without ear plugs then put them in, it certainly tempting to fiddle with the eq and volume with ear plugs in. but just take them out for a second and hear the difference, and yes I have got custom ear plugs at £125 [/quote] Paul's comment is by far the right way to go. I've also played with (guitarists) who are similarly self centred and unteachable. The band should set their levels at an acceptable gig level which balances well across the band in the sound check and the need to increase volume after that should be seen as the exception not the rule. All too often it becomes a volume bidding war. As others have said, if you need to tweak do it after popping out a plug to hear your real volume. Also, proper plugs are an investment - whether you're taking £20 Alpines or £200 custom moulded jobs - and frankly, as others have said, the foam ones are only good for deadening sound and not for listening to or playing music at all!

I've been very impressed with Picato's stainless steel round wounds. £15.99 from Strings Direct... http://www.stringsdirect.co.uk/strings-c1/bass-guitar-strings-sets-c34/stainless-steel-sets-c238/picato-4-string-stainless-steel-roundwound-45-105-long-scale-bass-guitar-strings-p1085 Been using them for the last four or five years and would still be doing so had I not been tempted to dabble in the dark (flat) side over the last couple of months. I found them to be consistent and long lasting (tho I suspect my playing style isn't as punishing as punk with a pick). I thought they had a good top end/upper mid presence without being overly zingy or pingy, esp when they'd had a couple of uses to play in. If flats don't work out for me in the long run it will e them I will be heading back to.

Well that was different... Not bad different, just different. In fact, I rather liked it. Hmmmmm... So, I put on CamdenRob's La Bella Flats on the Mk 1 and tried them out in the service at church this morning. The set up was the same as usual... DI into the PA via a VT Bass DI pedal and monitored through UE in ears. What a difference to my previous round wound strings. I've always thought that the thing I love about the bass sound was the zinginess of the strings, the growl from selectively swooping up and down the frets and the lower middly punch you can get from rounds. Most of that was missing from the flats, of course, or significantly lessened. So that's a downer, you might think. On the contrary. What replaced them was a stronger, more definite fundamental tone with a deep, rounded sound around it. And that tone was so great that, actually, I really didn't miss the characteristics that were missing. In fact, the whole bass sounded more together, more focused and stronger across the strings and across the neck. That I like! Lots. I had worried that the loss of zing would make the bass more indistinct and difficult to hear in the mix - though the in ears naturally solve a lot of those problems, they're so lovely and transparent. Nope, the bass was still really transparent and present in the mix, even with the reduced top end zing. It also gave a much stronger performance on the bridge pickup than the round wounds had. That I really like! Previously the bridge pickup has seemed to be lacking a bit in "body" compared to the neck pickup or a pickup blend. Not bad, not overly trebly but rather just a bit light or insubstantial. With the flats it was somehow gutlsier than before and more rewarding to play solo'd. That I really really like! So, as Rumblefish had suggested way back in September, a bit of a revelation. But there is still more to explore. I didn't change the tone settings I was using on the VT DI at all - treble at 12 o'clock, mid at 12 and low at about 3 o'clock. The character is set at about 10:30 and the drive set low. I wonder how it would react to a little more mid and treble? Would that restore a bit more of the desirable characteristics that went with the string change? Well, I'm playing again next Sunday so there's a chance to experiment again woth the settings... Hmmm, watch this space but, as Rumblefish said I would, I think I'm sold. Now, to get a set of flats to try out on my Pro series Wal too. What to get? Maybe some GHS or some Status or Chromes?

Never really been a effects user but this last year I started using a few more for textures when playing at church and put together a small pedal board. The workhorse star has been my Tech 21 VT Bass DI which is a cracking pedal. However, I'll nominate the only pedal I bought thiis year, an EHX Pulsar tremolo which is great for some progtastic effects and textures. Honourable mention goes to my 20 something year old Boss CE2-B which I also pulled out of retirement.

Yes, yes, yes, yes, yessity, YES!

[quote name='Number6' timestamp='1451516822' post='2941246'] Just say noted..... [/quote] ...and then completely ignore his pearls of wisdom.. What's the betting if you saw him live you'd think, "Ooh, I don't like that bass tone." Pretty high, I'd reckon. Used a Markbass for many years with no effects other than a tuner and always loved the sound whichever bass I was using. Horses, courses...

[quote name='discreet' timestamp='1451475247' post='2940731'] I agree with the above, but unfortunately there are songs I just will [i]not [/i]play and so I don't 'do' covers bands. They include, but are not limited to: Sex On Fire, All Right Now, Mustang Sally, Mr Brightside, Brown Eyed Girl, Sweet Home Alabama, All The Small Things, Get Lucky, Honky Tonk Woman, Brown Sugar, Play That Funky Music, Creep, Smoke On The Water, Hotel California, Superstition, Proud Mary, Wonderful Tonight, Born To Be Wild, Wonderwall, Crazy Little Thing Called Love, Moves Like Jagger... and yes, bleeding Summer of Fecking 69. There you have it. There are lots more but I can't think of them right now... [/quote] I'm with Chris too. Every one on that list is a punter pleaser and I played the vast majority in the covers band I used to play with - and even if they weren't my favourite songs to listen to I enjoyed playing them for the reaction they got every single gig. There is a certain joy about playing to a full dance floor of folks really enjoying themselves or waving pint glasses over their heads and singing along at the top of their drunk voices...

Apologies, for the thread resurrection but... finally found a chance to restring my Wal with the La Bellas that CamdenRob sent me. Various family stuff has meant that the basses haven't come out of their cases since mid November but now that we're back on more of an even keel I'll be playing again at church on Sunday morning. Fascinated to see how they sound and feel compared the the rounds I've played since I started playing bass so many moons ago...

[quote name='Geek99' timestamp='1451400796' post='2940156'] Is that a big enough subject to fill a book ? [/quote] You'd be surprised. There is context about the state that Fender was in in the late 70s, the rise of the Japanese makers, the new team brought into Fender and then stuff on all the different models... Plus Tony Bacon always hits a nice balance between readability and geeky detail!

Not strictly a pressie but at £2.50 in the Works you can't say fairer!

The will never be another Lemmy! Rest (very loudly) in peace.

It would be impolite not to be there...

Nothing directly bass related but my lovely wife did give me this fab early 80s NWOBHM/AOR CD by a band called Grand Prix (it has a nice photo of an alu-necked Kramer on the cover) and the Classic Albums Blu-Ray of the making of 2112 and Moving Pictures... And, Hey, Daphne plays a mean bull fiddle on Some Like It Hot!

In the diary. We need to make your idea of Paul coming along with a stall a reality!

But this Steeleye tune IS a Christmas song and so must also be played... http://youtu.be/lN9AJj9rtlk

[quote name='cameltoe' timestamp='1451056625' post='2938064'] I am reading this, but I'm on the toilet. A well deserved 5 minute break between starter and main course, and a quick check of BC just to make sure no-one has listed an Xmas bargain pre-cbs fender as an unwanted gift. Merry Christmas! [/quote] TOO MUCH INFORMATION!!!!!!!!!!!! PS So am I! PPS Merry Christmas everyone!

Ho Ho Ho! Merry Christmas to all. And to all a good night!

[quote name='xgsjx' timestamp='1450965895' post='2937456'] Salvation is here? [/quote] That's the fella! Much prefer leaving the bass line more room to breathe when I play it!

Actually, for me 20s/30s swing and 50s/60s cool...

Flick it, twist it, pull it, bop it...

Also, for us, I think it really helps that both our worship leader and senior pastor understand how a band works. So they understand what the rhythm section is there for and the role it plays, the strengths and limitations of different instruments and the inter band (musical) dynamics that make for a successful ensemble piece.

It is a complex and varied thing. And it may vary in its nature from context to context. The overarching philosophy that you're not there just to play notes you are there (individually and as a team) to lead the congregation in and into worship should, I think be universal. But still there will be an authority structure in the team (and the church) which must be respected within that. However, depending on who is on each week I find my role as bass player subtly changing. One of our electric players is amazing but lacking in confidence so I find myself mentoring and encouraging him as part of the role. If we've not got drums for some reason and the acoustic guitar player is not able to do it I find myself playing more rhythmically and signalling the beat and the drive of the song from the bass. Other times the whole team may be looking to me for musical cues (esp when we don't have an experienced or confident keyboard player). And those things can take a multitude of forms - the way I play, choose notes and strike the strings, looks and nods and bass neck gestures, mouthing timings (1 2 3...). These days I often don't realise that I'm needing to do it. I guess that the dynamic in every team is different. Our main worship leader is a singer so sometimes the team needs, in effect, an MD to rally and corral the troops. I guess that it helps that I'm one of the more longstanding team members and on the older end to the teams age spread too...

[quote name='tobiewharton' timestamp='1450885242' post='2936720'] It’s great to read about your experiences guys. I have had similar experiences in my own worship team and alongside occasional frustrations, have certainly developed as a player in this ministry context. Davo – thank you for an excellent list of tips, with which I agree whole-heartedly. It’s amazing how 10 is so often overlooked… What I’m particularly interested in though, which I didn’t make terribly clear in my original post, was how members of worship teams have experienced the act of worship whilst playing bass. Surely, creative expression should be encouraged, but not at the cost of distracting others. I would be really interested to hear your thoughts… Tobie [/quote] Funny, the No11 I was going to add to Davi's excellent 10 commandments was always give 100% to your performance (it's an offering to God and he deserves no less) but never let it become a performance. Be a worshipper on the stage leading the rest of the congregation into worship and modelling your worship to them. Now that can be a hard thing to get on top of but for me it's vital in a worship context. I often remind our team that when they are playing they are ALL worship leaders, not just backing musicians or backing vocalists and while they need to follow Xana, our worship leader, they should also be listening to the Spirit and aware of their position leading the congregation into worship. It can be such a temptation just to play and perform and most of the people I've played with have needed to work through that t one extent or other. I think that they overplaying comment really valid. That's not to say you shouldn't be creative but it's knowing how and when to step out. It is a principle that applies equally to all playing situations though, not just worship music. Play with a purpose and if the best thing for the song is straight 8 notes on the root at some point then play those with 100% commitment. Sometimes that is what is needed. Sometimes it is wigging out. But wig out for a reason and in the right places. When we play Let Praise Awaken the instrumental bridge section bass line is slathered with funk wah and manic octaves but that is what is called for at that point. For the verse and chorus it is solidly holding down the riff, maybe with some conventional wah added here and there that is needed... The way we play it, anyway. The right playing in the right place at the right time. On Jesus Lover Of My Soul it's largely roots with the appropriate walking passing notes that works for me. Dead basic but, hopefully, in the pocket with the drums. There's a particular Hillsong track which we do that annoys me every time I listen to it (name escapes me right now). The bassist seems to think he's a budget Rocco Prestia. It's a constant 16 note groove (in the ungrooviest way possible) all over the scale the whole way through - and to my ear it really doesn't fit and really ruins the recording. When we do it my line is still trying to be groovy but with more dynamics and fewer notes. For me it fits the song much better. All too often you hear players trying to fill every space with a note. Sometimes that is just what is needed (sounds awesome in What Is Hip?) but not everywhere. One is creative, the other indulgent - and it can be a very fine line. Then there is the style where ever fourth bar has to be punctuated by a fill... By the end of a song that can just sound annoying. As you say, creativity but in context and respecting the Spirit, the song, the moment and the worship leader. On music, I'm using OnSong on the iPad. Really versatile and love being able to transpose on the fly when using ChordPro format songs files...