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Kitsto

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Everything posted by Kitsto

  1. Please note: for [b]delivery in London only [/b](to your address or meet up) - no post or courier - [b]cash on delivery[/b]. This is the book by Rick Nielsen of Cheap Trick about John Entwistle's instrument collection called 'Bass Culture'. The book is in good condition with original dust jacket. No rips. But there is a ding on the front bottom left and the front top is a bit worn. Inside it's fine. A great read with lots of JE's own comments - I think he died before it was actually published but was heavily involved in its creation. Rick Nielsen in his forward explains how he spent two weeks at JE's house (there are pictures of it and you get a feel for it in the background to some of the shots) going through the instruments and ending up in countless jams. Further forward by Roger Daltrey. All in all great fun. I've owned it for over ten years and paid £48 for it.
  2. Why Dontcha: https:/m.youtube.com/watch?gDkgTQhRxpU Apologies - can't make it link.
  3. Only just discovered this thread - fantastic to read all these thoughts on how JE did it - I feared I was the only one remotely interested - have watched the YT isolated track over and over and then when you see how little Townshend is actually playing (in the band consolidated shoot) you realise he's jumping around so much it's only JE and mad Moon holding the thing together! WGFA is what got me into rock. I was eleven years old and Who's Next was the first album I ever owned. Just tried b714s's tab riff - wonderful! Thank you. BTW one other bass track I've always been fascinated by is Why Dontcha by West Bruce & Laing - JB's bass lines are fabulously melodic behind LW's brilliant riffing.
  4. [quote name='TimR' timestamp='1480271321' post='3182989'] In fact in some tunes one of them played everything and more. On some occasions he 'helped me' by adding extra root notes. . [/quote] Wonderful! Made me laugh!
  5. I am relatively new to all this, still in my first band. But already I'm learning things. It's a democracy. But the front guys (singer/rhythm gtr; lead gtr) inevitably decide what we play. Drums and bass can veto. But essentially vox has got to be able to sing it and lead to play it - and both have got to want to do it. It's taken me a while to grasp this but I'm cool with it now. I'm in a tight gigging band, which I never expected to be, quite so quickly. Some of our set list isn't quite my thing, but most of it is. The other guys are easy going. We all have our quirks. But the good far outweighs the bad. I feel lucky.
  6. I've been experimenting at home with various effects on my Zoom B3 but have never felt confident enough to gig it (plenty to go wrong anyway). My idea was to use it to find FX I liked and then get individual stomp boxes. Then I finally got my Trace Elliot (bought from another Bass Chat member) to band practice and the difference over my Ampeg was immense. The guitarist even said he was pleased to be able to hear me finally (I may have made that up, it sounds so unlikely). Anyway I'm not going to bother with effects. No one notices them anyway. The rest of the band and anyone listening at gigs think the bass just goes thud-thud-thud.
  7. I know nothing about the technology but as a Zoom B3 owner I know there is a problem with power supply. I think it's to do with poor earthing and so varies between venues and this may be a cause. Anyway, try using battery power.
  8. I came late to playing in a band and only did so after I'd retired. It was a lifelong ambition having been obsessed with rock music as a kid. I always imagined it to be an ideal way of life. I feel very fortunate. I am in a great band with musicians far better than me who are tolerant and let me play my own bass lines. But even though we are a happy band I've learnt (not least from mates of mine in other bands) that they can be toxic environments. Pete Townshend said that a band is a bizarre thing. In no other walk of life do you work with the same small group of people doing the same thing for the whole of your career. By contrast I'm in an amateur gigging band without the pressures of a pro band. But maybe some of the frictions you get in 'real' bands can rub off on the rest of us too. It helps if you get along as people. The band I'm in treats it as a social experience too. We've become friends and do things together (such as going to see 'real' bands together) which all helps. One key rule is that we all set up and pack up all the gear together. Each doesn't just look after his own stuff. But I'm still learning that I need to be more accommodating and accepting of others - and that's a good lesson when you're my age and otherwise in danger of becoming a sad old git.
  9. Apologies for taking so long to reply - and many thanks to all of you who expressed interest - yes, it has almost gone: bass and cash handover take place tomorrow. I'll !et the moderators know definitively to lock the post once I get back.
  10. This is a much loved (by me) Fender Precision which I have had for well over a decade (possibly closer to two) during which time it has been gigged only occasionally. I am selling it because I have recently discovered Epiphone T-birds and my other basses are seeing next to no play and must go. This bass according to the "S" prefixed serial number is either late 70s or early 80s and has "made in USA" on the headstock. The pick-ups are not original - it came to me with actives but I had those replaced by Seymour Duncan passives. Gary Mullins, professional guitarist and luthier in Aylesbury who did the conversion, described it post-conversion as having "mojo". It is quite road worn (from before I bought it). There is a spot of varnish missing under the bottom string on the third (G) fret; there is a dark mark down the back of the neck that looks like a sweat mark but is just discolouration. There are various cracks in the varnish. But not around the neck-body join which looks pristine. It has a wonderfully mellow honey glow to it, I put a gold pickguard on it and a gold thumb-rest (I use the thumb-rest in two positions; hence the additional gold screws for when I move it round). Above all it is a bass that looks brilliantly cool when you are gigging. It has got that worn distressed look that means you do not need to be too precious about it when you prop it up against the stack. I have posted some pics that are not that great (old camera) and I can take more if you like. In terms of selling it, I would prefer not to post it but will deliver within fifty miles or so of Aylesbury (in other words pretty well anywhere in the south east) or meet you part-way. In terms of price I paid £875 for it when I bought it off the Charlie Chandler Guitar Experience shop in Hampton Wick, south west London. I have not been on Bass Chat long so in terms of my own credentials (1) I bought a Trace Elliot stack off Phil Beavis a couple of months ago via Bass Chat, paid him what he was asking and I think he was quite pleased with the deal and (2) the band I am in is based in Leighton Buzzard, is on Lemonrock and is called Freight Train Riders. And, yes, I am the bass player. And I am called Chris.
  11. I had a few lessons of classical guitar at school many decades ago so when I took up bass more recently it was easy to use two fingers (and thumb for arpeggios). But I noticed that Jack Bruce is a one-finger merchant (at least on fretless) and some of the players I most admire are not especially consistent in terms of the fingers they use and whether they strictly alternate (Entwistle, for instance). I play in a 70s rock covers band so who am I to talk, but my view is that you can get too hung up on being strict in alternating fingers. I find I can be pretty inconsistent. But I'd say: go with what feels right (provided it gives you the speed and dexterity you want) rather than worrying about consistency. The latter may be better in the long run technically, but maybe at the expense of feel or tone. If the greats are inconsistent, can't we be too?
  12. I feel very fortunate because I've recently retired and that has given me the time and drive to take up the bass seriously and get into a gigging 70s rock covers band. The two good things about doing this at the 'wrong' end of my life are that (1) there's no possibility or wish to do this for real, as there would have been in my 20s and (2) all of that useless knowledge gleaned from studying the small print of inner sleeves back then (which was far greater than anything I did for A levels) is suddenly useful when I say to the younger members of the band (they are all younger) "Do you mean the album version or the single?" etc, etc.
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