chris_b

I don't think stupidity comes into it. Seems to me you guys are A level students trying to come to terms with a Masters degree course. You would probably get more out of this course if you had some prerequisite courses leading up to it. I would love to play at this level of ability, but I just don't like the music that these guys play. A year spent playing and understanding what's behind Nate Watts, Roscoe Beck or Joe Dart bass lines, for instance, would be a much better project for me. Those styles are more relevant to me and how I play.

Revenge can easily backfire. If you plan to let them down at the last minute, what do you gain by doing that? If you think they are aholes don't stoop to being one yourself. Stabbing the band in the back could make you look bad when you're not. Be the adult in the room and understand that when you are working with amateurs, especially in bands, stupid stuff happens.

9 mins in and. . . . the best thing I've heard this year.

Wow. They've got to the tufted Wilton stage of their career!

Even if you are not bosom buddies, keeping things friendly is all part of networking. And a good network of contacts will get you better gigs than auditions.

The carnet also prevented you from buying or selling gear abroad, and possibly avoiding paying taxes in the process.

IMO it's a bad idea to burn your bridges. One of the guys might join another band in a years time and be looking for a bassist. So always leave amicably.

OK. misunderstood by me.

I believe nothing changes now for 2 years, while the real discussions about leaving take place. After that, we become the 51st state.

Like roundwound strings. Who needs those? Flatwound strings, now that's the sound of a bass! Or who needs pneumatic tyres when solid rubber tyres work? BBOT bridges sound fine. They were cutting edge technology when they were introduced. Then amps and cabs started to evolve and the possibility of making something better arose. Upgrading a bridge doesn't imply the previous version sounded bad, but we are an inventive lot, so if we can make things "better" we will, and sometimes "better" really does sound better. ps spelling, again!!!

Anything Bob Dylan wrote. The studio version of this was getting played a lot by the soldiers when I was playing the US bases in Germany in the early 70's. When being sent to Vietnam was a real possibility for many of them.

CITES changed but unless you know what replaced it you'd better find out before you put it to the test. You could still need official paperwork.

People were upgrading bridges long before the internet was even a twinkle in Berners-Lee's eye. The idea is that more mass in the bridge gives a better transference of energy from the string into the body and back again. Thus improving the tone. If you are recording then this might be a worthy upgrade, depends on your sound, but in a semi-pro band crashing through the usual fare it's probably not worth the trouble.

On the next rehearsal you should. Arrive knowing and being able to play the original, Willie Dixon on bass and Fred Below on drums, and then you'll find it easier to adapt to the arrangement the bandleader wants. I've played with good players who find it difficult to explain what they are doing and what they want out of the rest of the band. If they are good players (or a band leader) you meet them in the middle, or where ever they can get to. I've played this with short and long changes. It works both ways. The bass line can be an 8 in the bar rock and roll piano left hand line or just a 4 in the bar, as per Dixon's original part.

I used to drive past his house in Chiswick. I'm sure I saw him waving at me from behind the curtains.

Sounds like the band leader is telling you he wants a short change, ie up to the 4th for the second bar. A long change would stay on the root for 4 bars before moving to the 4th.

. . . . . . that's what the ashtrays are for.

You want to groove? Take a listen to listen to this. . . . . . . . https://www.youtube.com/watch?v=m4XI6LXCsH8

So have I. Currently they are set up at home and I'm putting my P bass and TH500 through them. Great sound at low volume.

I heard Linus27 playing an Ashdown (not sure of the model) through my Two10 and I was surprised how good it sounded.

I used Aguilar Th500 and AG700 amps with my Two10's and they sounded very, very good.

No. When I bought my first 5 I tried switching back and forth, but it was more confusing that it was worth so I put the 4 in the case (it's still there) and focussed on getting the 5 right. My 5 string basses can do it all. They are easier to play, sound better and are more flexible than my 4, so after getting up to speed I realised there was no point in getting the 4 out again. So I haven't. YMMV

There's so much more. . . . Ry Cooder Good Thing Betty Davis Anti Love Song As has been said, if the timing is only a little bit off the groove evaporates.

If your amp has one output socket just make sure your cab has 2. Most cabs have 2 speakons these days. Then you don't need to worry about splitter cables or when they are running in series or parallel. Just buy a pukka branded cable from a proper shop and it will work. If you start with a 210 I'd audition another 210 as well as a 115. Depending on what you buy, the 10's could be louder and go lower than the 15. I ran a 115 and 210 and then replaced it with a 112 and 210. The second rig had a better, wider tone, was every bit as loud and was smaller and lighter. Only valve amps need to be connected to a cab, and these days some of them don't. SS and D class don't need a cab and can be used with headphones only.

A leather scratch plate would take a lot of maintenance to prevent it from staining and drying out and cracking, but I think they look cool. Wal made their JG basses of the mid 70's with leather scratch plates. http://walbasshistory.blogspot.com/p/blog-page_28.html