PaulWarning

I have my bass low down, when I practice at home I usually sit down but on the edge of the seat with the bass hanging by the strap and not on my knees if that makes any sense, as for sitting down for gigs, no ,no ,no not in a rock band might get away with it in a jazz or lounge music band

[quote name='spectoremg' timestamp='1469306055' post='3097336'] What's a bass solo? [/quote]I've just got in from the pub, but a bass solo is a boring piece of crap that just pads out the set because the band hasn't got enough material, just like a drum solo

I've posted on this before and this is just my experience, I've got the pro 10's and I've found they really do cut the treble out too much. If I wear them both I feel really isolated and don't enjoy the gig, so as a compromise I just wear one in my left ear which, being a lefty, is always next to the drummer, I use a 'christmas tree' one in the other ear which I adjust in and out of my ear depending how loud we are, having said that my hearing is already damaged (big drop off around the 4 -6 k hz mark) which is why it's just my opinion

[quote name='bluejay' timestamp='1469267556' post='3097028'] For a professional there should be no difference in setting up a righty or a lefty. What I don't like in the setups offered by most specialists is that they will follow the book, so to speak, measuring distances and gaps and making them all standard according to "the rules". I don't know how many of us enjoy standard setups, but I know I certainly don't: for instance, I like the G string to have a much lower action than the other strings (makes it easier to play the high notes when I use my pinky). I like to adjust the action through lifting or lowering the saddles and the nut (Warwicks are way ahead of most other makes, in that they have adjustable ones) as well as through the usual truss rod tweaks. Some of the above would be anathema to a pro... I'm the official re-string/setup person in our lefty+righty household, and it makes no difference to how I work; however, I always do the final adjustments only after we have actually played the bass and decided if it still needs tweaking. [/quote]^ yeah this, I'm a lefty and do my own set ups, if you've got a logical mind it really isn't rocket science, a few basic tools and there's good tutorials on youtube, and there shouldn't be any difference between setting up a righty or a lefty , a luthier's bound to set it up by the book, how else should he do it? unless you give him detailed instructions, having said that I once fitted new strings to a mates guitar and did them the wrong way on because he was right handed, I did feel a pratt

judging by their first album, especially, Led Zep are a covers band

[quote name='TimR' timestamp='1469187145' post='3096428'] No. They had material that was written specifically for them. A cover is more specifically a song that was originally recorded (and made famous?) by another artist beforehand. ie the risk and hard work of selling the song and determining whether it will be popular has already be done. All you have to do is copy what they did. [/quote]yeah fair enough, in most cases, but there are exceptions, Blue Suede Shoes springs to my mind and certainly in the early sixties a lot of artists covered American hits before they were released over here, I know I'm being a bit pedantic, because the covers bands we're talking about are where they've no intention of recording them just banking on the fact that the audience will already know and like them, that to me is a covers band

haven't read the whole thread, but were/are Elvis and Cliff Richard covers artist because they don't write their own material? must be bands about like that too, some of the boy bands seem to do a lot of covers as did the Hollies to start with

I've only just counted mine, 20, but I never go higher than the 12th and very rarely have to higher go than 4th

my Mum has a personalised number plate, one downside she found was she had a slight collision with a bus, she thought he might not have felt it and drove off (she is 90!) but he remembered her plate number because it stood out :-(

[quote name='leftybassman392' timestamp='1469052366' post='3095478'] Each to their own (and it is mostly just a bit of fun after all), but I don't follow the logic of personalised plates: after working hard to get the best possible deal on the car you're buying or have just bought, you then blow who knows how much on a personal plate (the cheapest I've seen recently was £250 IIRC, with prices rising pretty sharpishly from there). Why not either pocket the money or else spend it on something that might actually serve some purpose beyond vanity? Baffling. Then again this is a forum largely populated by people who go through large quantities of both anguish and money so they can own more basses than they actually need to play their music... [spoiler]Yes I know they're transferable thanks for mentioning it. Doesn't invalidate the argument though. [/spoiler] [/quote]no I don't get personalised number plates either, as I said earlier, but as with expensive basses people convince themselves they'll be an investment, of course, most of the time they're anything but

[quote name='Trueno' timestamp='1469001011' post='3094906'] I've changed my name to BV54 OJD [/quote]we must be related mines BV54 LKJ, don't really get personalised number plates myself, bit to show offy for me

lack of social skills, ( that is you're an awkward twat) don't enjoy playing gigs, can't find a band that plays the stuff you enjoy,lack of commitment, a none understanding partner/wife, the list is quite long really, but if you really enjoy the buzz of playing to an audience, you'll join a band

[quote name='steantval' timestamp='1468354267' post='3090409'] Sorted, sack the vocalist (lightweight) and let the drummer take over the vocals. One less to pay and more gig money for the rest of you. [/quote] , seriously a good vocalist is more than that, they're a focal point and make the band more entertaining which why they get the most attention, punters all want to talk to the singer after a gig, suites me I'd rather pack the gear away

all he needs to do is build in a capo and the world is his oyster (almost) yeah those B's and Bb's are a bugger

no more having to convert a 7 string guitar to 6 string for fat fingered players, put our favourite luthier (not sure if we can say his name anymore) out of business

this is more of a 'drummers in successfully bands list', in most bands the drummer is just lucky to get in with other talented musicians (like Ringo), there are a few exceptions, but how many drummers write the songs for instance? a few but not many, it's like the old joke 'what do you call someone who hangs around with musicians'

our singer is always moaning about his throat, but he is a hypochondriac, he seems to get about 5 times as many colds as anybody else which always go to his chest, always saying he doesn't know whether he can get through the gig, we just ignore him now, he's an attention seeker which is why he's such a good front man, he's never pulled out of a gig in 10 years, but of of these days he'll really mean it. Don't get me wrong I like the bloke I've known him for years, his has limitless enthusiasm, I guess we've all got faults, some faults you can put up with and some you can't, can't stand disloyalty myself

[quote name='thebrig' timestamp='1468079080' post='3088488'] You know what, I was thinking of starting a thread on the very subject of singers/vocalists crying off with sore throats, I've played in about ten bands, and I think I can honestly say that every single frontman in those bands has cried off at least once with a sore throat, obviously we have to take their word for it, but I do sometimes think that it's their version of a bad back that some people use when they want a day off work. [/quote]that's because most singers are narcissists, it's their way of showing how important they are, having said that I do a bit of singing at open mics and if you have got a bad throat it is very difficult to sing properly, especially for up to 2 hours, our singer has never cried off in 10 years, but he certainly lets us know what a trooper he is for carrying on, almost every gig (well it seems like that) he tells us he doesn't know whether he'll be able to do the second half, one of these days he won't be able too

[quote name='thebrig' timestamp='1468072260' post='3088435'] OP here, trust me to put the mockers on my band's gig tonight by starting this thread on music stands. Our frontman has cried of with a viral throat infection, so rather than cancel the gig, our drummer is going to take on the vocals, but as he's had no time to prepare, we are going to have to allow him to have the dreaded music stand for the lyrics, but I suppose there are special exeptions and this is one of them. And we are lucky that he is a decent singer and can drum at the same time. [/quote]you know I think maybe I should get a music stand, our singer (a complete hypochondriac) is always saying he won't get through the gig because of a bad throat, one of these days he might not, so I might finish up on vocals, then I would need a music stand fot the lyrics

[quote name='zbd1960' timestamp='1468002265' post='3088032'] Because you get very little repeatition of notes, rhythm, or structure that you get in rock/pop. I play in orchestras and in large wind bands. Some of the easier pieces, the music is an aide-memoire since you get to know it after a few rehearsals. But you don't develop that level of familiarity with more complex works, plus as already noted, there are a vast number of articulation, dynamic and performance instructions, as well as notes and rhythm to worry about, plus other performance guidance notes, cuts etc. Typically you get maybe 4 or 5 rehearsals, do concert, start rehearsing new set of music... I don't yet play bass in any group. When I get round to that, it is likely to be jazz-ish probably. Since I don't currently know any bass music, I'm anticipating using a stand, which I do not see as a problem. Maybe over time, if I end up developing a core repertoire that is aired regularly, that requirement will fade. Don't know. I don't see it as a big deal. One orchestra I play in has a partially sighted player. He has an A4 sized tablet. He gets his music scanned and then video reversed so that white is black and vice versa - he can see this better. He has a pedal to control scrolling. The main point is surely that what matters is the end result - if it's a decent performance, what's the issue? [/quote]no issue, just wondering whether classical trained muso's have a music stand in front of them to make them look more professional whereas rock bands don't, to make them look more professional, perverse of what? and how do they turn the pages?

[quote name='AndrewJordan' timestamp='1467988186' post='3087889'] What if the classical guys really have it all down to memory and just have the stands/sheets there to fool us all into thinking how professional at sight reading they are....................................... [/quote] well that's the thought that occurred to me, it's all about image init, and who turns the pages? I went to see the Bootleg Beatles and they had orchestral backing, all with music stands, can't believe they needed them, it was well into the tour

[quote name='neilp' timestamp='1467977692' post='3087738'] Oh dear. Classical orchestras need them because we can't be expected to memorise all the notes, dynamics, tempo changes etc etc that we've rehearsed. In general, orchestral music is MUCH less repetitive than what most of us play and much more difficult to learn. In general, I learn the difficult bits, and carry on reading the easy bits, even in performance. The conductor? What's he for? Imagine how hard it would be for 80 musicians to deal with all the balance, tempo and expression details (MUCH more detail than we put into our performances) without some cues and help. It's a different world, so much more detailed. [/quote]I guess that's why we have a drummer seriously, I don't see much difference between learning a a 40 song 2 hour set than a long classical piece, but hey, I've never been anywhere near an orchestra so I probably don't know what I'm talking about

[quote name='backwater' timestamp='1467975007' post='3087686'] I think it's one of these : [url="http://uk.rs-online.com/web/p/potentiometers/7293697/"]http://uk.rs-online.com/web/p/potentiometers/7293697/ [/url] Full Spec is here : [url="http://www.alps.com/prod/info/E/HTML/Potentiometer/RotaryPotentiometers/RK12L12/RK12L12_list.html"]http://www.alps.com/...12L12_list.html[/url] Alps RK12L 10kohm linear - I did have a bit of help from this thread here : [url="http://www.yamahaforums.co.uk/forum/viewtopic.php?t=5941"]http://www.yamahafor...opic.php?t=5941[/url] - Assuming the marking are the same as that thread then it should be the correct replacement - will depend on the shaft length and shaft diameter. RS link was the first uk hit I came to. Andy [/quote]yep that looks like it, I didn't know where to start, been googling various description without finding this stuff, cheers Andy

yep got to agree with a lot of posts on here, I used to use one when I first started open micing to remember the lyrics, but soon realised if it's there you spend all your time looking at it, even if you don't need too, if I see somebody using one I just think "lazy sod, couldn't even be bothered to learn the songs". If you're depping it's different. Do classical orchestras need them? or is it just part of their image?. Slightly off topic, why do the need a conductor WTF is that all about? Couldn't they just have a Dee Dee Ramone shouting 1 2 3 4, like the rest of us?

this is off my Yamaha APX 700 electro acoustic, it needs replacing, it's not only crackling but keeps cutting out unless pressure is exerted on the top of the spindle. Anybody know where I could get one from? I'm hoping it's some sort of generic pot