chris_b

"Locking with the drummer" is about time and timing, but there's a lot more to it than that, and in order to be successful he has to "lock" with you as well. It's about the two of you working as one, being on the same wavelength, feeling the groove and dynamics of your combined playing (not the dynamics of the arrangement). It's about complimenting each other, lifting the song and giving it extra life.

Our band went into a junior school and played for the kids. They were invited to come up and talk to us at the end. I was the only one who was totally ignored. It didn't surprise me. Sir Isaac Newton was singer or a lead guitarist. He's the guy everyone remembers, he got all the glory, but Robert Hooke was the guy who discovered and invented so much stuff and many of the experiments and equipment that proved the Science. Newton was the poster boy but it was Hooke who made the Royal Society work. Robert Hooke (not a Sir) was definitely a bass player. (Google is your friend!) We are the unsung heroes, the guys running in the power stations, keeping the lights on, working in labs inventing a cure for the nastiest diseases, maintaining the buses, trains, planes computers and telephone systems. Do we need a pat on the back or are we satisfied just knowing that everything turns to stinky poo without us? We are the calm, witty and intelligent members of the band. We know we tie the band members together, ensuring they sound good. We know that we are the heart-beat and soul of the band. We know that and the band knows that. It's nice to get recognition from an audience but we can be satisfied by the simple fact that we know just how important we are.

So you've seen my band!

No mention of Jon Cleary? The musical high point of the last 5 years? Finally, a decent band on Later!

On a gig, I was chatting to the drummer, who is also a bass player, about the differences I was finding between my P and J basses and he said "Well, I can't hear much difference between them. You're making them sound pretty much the same!" I've checked back over various live recordings and unfortunately, he's right! I'm not sure I wanted to hear that. How was I hearing myself so wrong. Made me wonder if I knew anything about my sound at all?

For a few years I used GHS Precison flats. They produced a very good sound and didn't break the bank. I now use TI's which I got cheap but were still more expensive. I just think that when you spend £1500 + on a bass you should be signing up to the whole package. Like when I tried to put cheap petrol in my Volvo 850 Turbo. The engine only started to work properly when I switched up to the more expensive higher octane petrol.

You'd better believe it. That's why "taking the knee" is so important and why the Right are so keen to misrepresent it's purpose. The Centre for Civil and Human Rights Museum in Atlanta, documenting the Civil Rights struggle, will bring tears to your eyes but when you meet this attitude face to face it is truly shocking. On the same tour, in the early 70's, in our German hotels we met several ex-Nazis. One in particular still sends shivers down my spine. Civilisation is a very thin veneer. No matter what happens in your life, always, always, always be grateful you live in the UK. . . . and now back to our regular programming.

I don't know these strings but the thought that strikes me is why have a top quality bass and put less than ideal strings on it!

I had no expectations when I started playing bass.I just wanted to be in a band and I could play bass better than guitar. Then I saw John McVie playing with John Mayall and my future was sealed. Most audiences don't hear, understand or care about the bass and that doesn't matter. Some do, though. I regularly have people (not always bass players) come up to ask about my gear, style of playing and influences. It's nice when people notice, but the one person that always has to notice and you always have to impress is the band leader. If the band likes you then you're in business. Don't get confused, while they'll expect a good sound from you they are really only interested in the lines you play and how well you play them. If you can lock with the drummer, play good lines and make the band feel good, then that's your job is done. I did a dep with a regular band last week, with a (very good) dep drummer, and we nailed it from the first number. The band leader later went on to Facebook thanking the two of us for making the band sound so good. If your playing has made the band sound good then the audience will always notice that.

. . . oh, yes. . . then there was our brief and disastrous involvement with Don Arden. The drummer in our school band wanted to be famous so somehow he got us a week's worth of gigs with Don Arden. After 7 gigs in 7 days we discovered we'd been added to the long list of bands ripped off by Arden and his mate Ron King.

Mismatched and disastrous gigs? I've done a few. We were a Chicago blues band and the brides father booked us for his daughters wedding. Apparently he thought we were great! We spent the night playing in an empty room and they all stood chatting in the car park. We played in the Ladbroke, a pub now long gone, every Friday, Saturday and Sunday and brawls just like in a John Wayne western would regularly break out! We were so surprised and shocked at the first punch up we stopped playing. The landlord rushed up shouting, "Keep playing or they'll turn on you!" We played right through without stopping after that. We were playing in the Officers club on a US Air Base in Germany in 1971 and a Captain got up to sing with the band. He was great. The best voice I've heard but we were fired on the spot. The other officers wouldn't accept him singing with our white girl singer. . . because he was black!! They complained to the club management and threatened us and our gear, ffs! We were playing the Windsor Castle, Harrow Road and the singer didn't show so the 3 of us decided to carry on. We played a few instrumentals, all sang (badly) and asked if anyone in the audience could sing. A guy in a suit got up and sang a version of Little Richard's Long Tall Sally in the style of Stanley Unwin (Google him). Then a girl got up and offered to do a strip to Green Onions. Well we thought she was a she! He was actually going through gender reassignment and while he had real boobs added still had the meat and 2 veg. That was a very enlightening 10 mins and the moment when he/she whipped off her knickers has stayed with me for the last 40 years.

Firstly, what kind of Blues Band is it? I've been in and out of bands like this over my whole playing life, and have mostly used a clean sound with the range that you can get from a BB2. I'm currently using either Super Compacts and leaning towards my 2 Two10's but I really miss some of the top end a tweeter can give. I've asked Alex for a "bright box" I can add when I feel the need for more top end, but he doesn't see one of those in his product range. Fair enough. To me "old school" just means less top end. I'm a fan of this sound but I also like the dynamics you can dial in with a Jazz and tweeters. IMO this also a great Blues/Soul/Funk tone.

The only thing I'd change would be to get a lighter Jazz bass. My gear has all been bought for a reason. It's all the best for me that I've found, so I would replace like-for-like.

+1 keep doing what you're doing. Most bands are at best temporary. If you and everyone else is happy with the band direction, keep going.

I'll be selling rather than buying in 2019. I want to get 3 amps and 6 cabs down to 2 of each.

Sadly Otis Rush died at the week-end. His songs were a staple of most blues band sets in the 60's and many blues gigs since. https://www.youtube.com/watch?v=O3hrVFvxTfk

I would stand your sound guy in front of your cabs and tell him that's what you want to hear coming out of the FOH. Tell him to stop trying to be creative and just emulate the stage sound.

Are you using a cab?

Twas a fun day for me, as usual. Good to meet up with the usual suspects and a few new faces. So many Basschatters in one place and talking about bloody bass gear!! I didn't hear all of Richard's chat, had to rush off to a gig in Essex, but a big thanks to the team for organising the event, coming up with some good ideas to keep us interested and informed. I'm looking forward to doing it all again next year.

Am I right, your gen 3 Midget is actually the Super Midget? I use a Super Compact and I borrowed a Super Midget (they are different cabs but are designed to work together) from Alex. I ran the two on a very loud gig and it filled the room with huge, great sounding bass. My suggestion would be to get an SC from the Classifieds. Even if you have to get a bank loan. Any rigs that will make you sound better then this will be twice the size.

I have used DR Lo-Riders and Hi-Beams for many years. Currently I have D'Addario NYXL's on the Jazz and TI flats on the P bass.

I'm assuming this is the 112 8 ohm cab? There is one here https://www.musicstore.de/en_GB/GBP/Glockenklang-Space-Art-Cabinet-8-Ohm-/art-BAS0007176-000

Check out good quality straps. Mine are leather and suede and 3 1/2" wide. Neoprene straps would also be good in preventing any tenancy to dive.

Yeah. The "Massey-Ferguson" school of amp design!

The amp section of the portaflex was an elegant, even beautiful, piece of design. I'm sure they will sound good, but it's a shame Ampeg weren't in the same frame of mind when they designed these amps.