OutToPlayJazz

I suppose it's a different kettle of fish for me as a pro, but I know what you mean on the covers side. I left my last covers outfit a couple of years ago. We'd reached the point of headlining all the big biker rallies and there was really nowhere else to go. Tribute bands are really popular these days, but they drag you into the same place (boredom) because there's no room in a tribute for your own interpretation within the music. I lasted about 6 gigs in a tribute and promptly left. I suppose the other thing with the tributes is that you end up going country-wide and that'd be difficult for you with a family, etc. Perhaps you could work on your reading and do a few musical theatre/big band jobs. Or find a new challenge while you wait for a band to come up. I've been improving my guitard playing recently and am thinking of joining a local-ish blues outfit for some fun. Obviously I'm not going to tell anyone I'm a pro bass player! If all else fails, drop into your local jam session. It's the surest way to make new playing friends, keep abreast of all the local opportunities & most of all, keep your hand in. Rich.

The ESP's above are yet more evidence of shocking quality control. I'd send them back - They're all scratched, dirty and chipped!

[quote name='SS73' post='797217' date='Apr 6 2010, 09:14 AM']Luckily there is someone to clarify your point, I hope i'm not alone on this one though. [attachment=46570:V8_Twin.jpg] I have owned 3 Fender Jazz's and sold each one, as I hated the sound of the bridge pup, just has no go, no anything, love the necks though, so I posted this once on a JBass discussion and guess what, I was the only one.[/quote] Absolutely what I was saying - There's always a total opposite to your point on here More to the point, how's your back??

I'm sure there's another thread on this very bass in this very colour I played one of these the other day & it pounded a Mex Classic 50's Precision into the ground in terms of output & playability. They are very very good.

Big hair seems to be in at the moment. I'm jealous of people with hair...

Yes, find out where your local Music/Arts Support Service are and ask them to order the instrument for you VAT free.

[quote name='thedonutman' post='797015' date='Apr 5 2010, 10:30 PM']I don't like Sadowskys.....There, I've said it. The ones I played really didn't live up to the hype they get IMO.[/quote] I'm with you on that one. All the Sadowsky's I've played apart from one Metro have been a real disappointment. Very ordinary sounding and not really having the quality vibe about them that people go on about.

[quote]It is useless and over-balanced but bl**dy good for cracking into the guitarist when he's starts fret w*nking[/quote] LOL! Nah, if you avoid the double ball end strings and go for the cut off standard strings in the top string retainer, you can agitate the geetardist's hemorrhoids while you're at it with a headless Status bass On a more serious note, as Sam says, Ashdown gear is excellent. I've had several from a cheap EB180 combo to a MAG Evo II rig and they've all been excellent with great sound. If a little on the stupidly heavy side!

[quote name='Marvin' post='796989' date='Apr 5 2010, 09:56 PM']Proper heads? It's worse than that, they've got no heads! What nonsense. Although, I do miss my old B2A [/quote] Next thing you'll be telling me is that bass necks should be made of some archaic material such as wood! I ask you?! That's so 20th century

[quote name='Clarky' post='796985' date='Apr 5 2010, 09:49 PM']The voice of reason, as ever, OTPJ Mind you, what are you doing playing basses without proper heads? [/quote] Funny that, mate - I wondered why all of yours had that useless over-balanced end bit that always gets knocked into things? Is it what they call a "knock stock" or something? Yes, one has to voice reason these days, otherwise you get picked up by the Thought Police, LOL!

Luckily we all like different things, so it's never dull. Like for instance, I hate Rickenbackers. They're lifeless planks to me. I've only ever found one Precision I really covet & I think heavy rigs (anything more than 18kg per piece) are ridiculous! But luckily there'll be someone here who thinks the total opposite to me. Variety being the spice of life and all that.

Yes, I did three months on the QE2 in my early twenties. It's a great experience, although our cabins were about as far back and down as you could get. The engines were rhythmic, though. You have to be careful not to drink all the proceeds!

*Hands* ThisNameIsTaken a crowbar to extract his tongue from his cheek...

[quote name='thedonutman' post='796906' date='Apr 5 2010, 08:20 PM']+1 Marcus Miller is one of my favorite bassists; Victor has amazing technique and Stanley Clarke's style is very unique, but I can't help but think the song might work better with more in terms of instrumentation.[/quote] Well on the recordings and on tour they usually have a drummer & keyboards. Marcus usually does some bass clarinet/sax as well. But on this occasion they only had three bass players. What are they supposed to do? Magic a symphony orchestra out of thin air?

Yes, I'm a [well documented] fan of all three of these players & I was surprised at how subtly they weaved SMV together harmonically. Hats off to them all

Here're some more detail shots of these models for you all...

That is one stunning looking bass. What's the luthier's pricing like?

Hmmm... Looks Thunderbird-ish. I like the red one

I do some from time to time, but the recording work is getting thinner on the ground these days. Why, I hear you ask? ProTools & all of the new sampling software around these days makes us practically redundant, not to mention the cost savings for producers. If you listen to the Amy Winehouse albums and the last Lilly Allen album, you'll hear what I mean. It's all digital, there's no bass player or drummer for the most part & it's compressed to hell and back. It's a pity, as those of us in the know can spot a pro-tools recording a mile away! As for expectations, on most pro jobs, be they sessions or pro gigs, you're expected to sight read the parts most of the time. You can sometimes be lucky and get the parts sent to you in advance, but most of the time, the studios are on a tight schedule and it's a case of get in there on time (or an hour early which is my mantra) and read it there and then.

This all harks back to the double bass argument - Remember that Leo Fender designed the electric bass to be a more portable alternative to the db. And strangely enough, the gaps between the frets on the electric are perfect for double bass fingering. 1-2-4 from the 1st fret up to the 7th. Thereon, it's comfortable to use one finger per fret after the 7th. In the lower reaches of the neck, the hand shouldn't really be spanning more than a tone, due to the distance between the frets being so much wider. So those of you using your 4th finger are doing it right And the key to all string playing, whether you're playing the electric bass, violin, etc, etc, is the little finger. As soon as you've got that finger strengthened properly, the world's your oyster.

Another +1 for the Little Giant. Even with 8ohm cabs you'll still get around 5-600w. More than enough for most situations. Otherwise, have a look for a used Genz Benz Shuttle 6.0...