knirirr

Just bought a guitar bag from Tim. All went very well indeed - thanks!

The only snobbery I've noticed is the common complaint against bass guitars when playing jazz, and that's usually not from other bassists. Most recently it's been a guitarist; asking when I'm going to get a "proper bass" and then when I eventually find a nice one and space to keep it telling me that I wasted too much money when I could have just had a beginner one from Thomann for much less.

Ah, I see what you mean. I was thinking "patterns" as in the relations between the notes on the fingerboard (which appears like a linear circle of fifths to me) rather than the hand positions used to play those notes. I'd not noticed much difference but I used 1-2-4 in lower positions on BG a lot, and 1-4 for 5ths, octaves etc. Your comment was interesting as in the last lesson I had there was mention of students who've not studied bass guitar finding it easier to learn where the notes are on upright, which surprised me.

Interesting; I have found knowing patterns on a bass guitar neck to be extremely helpful when switching to DB.

Nor do I, but it never seems to be an option when we play there. That amp did quite well, though; I only had the volume and gain on half. There's a gig in a park in a week or two so it will come in handy then.

Played a small gig yesterday evening. One set only, but that's about all I could manage; had an inner ear infection earlier in the week and I'm still not feeling great. All went well, though. There's no power at this venue and we were on battery amplification only so I tried out a Roland bass cube, which did the trick nicely with a preamp for the upright. A brief clip here if anyone's interested.

Played in a small venue (40-50 seats) last night. Went quite well, despite changing an arrangement (and having to practice it) 15 minutes before the doors opened. Apparently, mature Cotswold ladies like bass solos and want more volume.

I'd agree about the pipe bands/pipe light music; horribly cheesy and boring IMO. Particularly "Highland Cathedral". However, I like Ceol Mor. This opinion seems to be an unpopular one even amongst pipe fans. I found that playing it would result not only in the usual bagpipe "humour" but also requests for "something with a tune".

Jazz mags. That is, the ones which contain actual jazz. I recall one which had an excellent Blue Note sampler tape with, IIRC, these on: https://www.youtube.com/watch?v=Cv9NSR-2DwM https://www.youtube.com/watch?v=w2KvM2T40RQ https://www.youtube.com/watch?v=jIBNV_RYQx0 https://www.youtube.com/watch?v=SuMd8ldLqxo Compilation tapes from music shops were often worth a try as well. I got some useful leads from this tape: https://www.pinterest.com/pin/545217098612161071/

Old band photos are in short supply, but here are a couple from some time probably around 1993 (can't remember exactly) which I had previously posted on Guitarchat. It wasn't long after these were taken that I realised I was playing the wrong instrument.

Fretless with anything other than an unlined board and side dots level with where the frets would be (as shown below). That's what I learned on and anything else feels wrong and confuses me.

Last rehearsal with drummer using full kit. For small outdoor gigs and jams without a full drum kit the amp is usually omitted.

Getting paid to play it is difficult enough...

We both like it. Unless I put some free jazz on; then, I tend to get dirty looks and complaints about it being "a bit too 'Desolate Shore'".

Definitely.

The Terror 500 with OBC112 was my choice as this combination is lighter than the old Trace Elliot BLX combo it replaced, not particularly bulky, and sounds good with BG. It even works well enough with a pre-amp for DB. Just as well, as I don't have any other amplifier suitable for gigs, and even at rehearsals the drummer always wants lots of bass volume.

I recall someone playing me a Macc Lads track some years ago, and the count-in at 0:25 stuck in my mind as being suitably in-character.

Sold my first bass a long time ago because I didn't like the tone. But, the "poor tone" was because it had rounds on and I didn't realise that flats for bass could be had and would have produced the sound I was after.

Years later I still remember a woman who wanted a tent I listed on Freecycle: 1. Emailed me without asking for a phone call instead. 2. Turned up at the easily-agreed time and took the tent away. 3. Emailed again a few days later to say her son had used it at a rock festival and wished to pass on his thanks for how useful it had been. An unusually pleasant interaction.

It's The White Horse, so the other side of Banbury from where you're thinking, if I've got the right Brasenose Arms.

Near Banbury, but still within Oxfordshire.

The acoustic pub jam I normally do each month was under threat due to the landlord leaving, but luckily the new one turned out to be very keen to have us carry on. Good session this week - the audience even commented on how cool my "cello" looked. House rhythm section setting up:

Probably best for me to stick to the carbon bows, in that case; bargaining is never something I enjoy. The Coda should certainly do the trick for someone of my skill level. There is a good bow maker locally but I can't afford his wares.

No problem. I had to be in Banbury and had an hour to kill, so it was worth a look. I went for the Codabow Infinity, German style.