chris_b

[quote name='MoonBassAlpha' timestamp='1498421764' post='3324524'] I think Jerry is bringing his own thing to it. He knows he isn't Bernard. I think his tone is right on the money, and giving the crowd something to dig. [/quote] And that's exactly what Nile Rodgers wants! A lesson for [i]all[/i] bass players. At the the top level guys will always sound and play like themselves and never try to sound like someone else. Even when they are replacing legendary and unique bass players. At our various levels we should all be trying to do the same. Guys like Jerry Barnes are hired to be themselves and bring their energy. Even playing seminal BE songs in Chic. Nile is the man!

Some fantastic gear is made in Asia. Where it's made isn't the issue. What is important is how seriously the company takes it's reputation. The Asians can make anything they are asked to. If they are asked to make a good quality product they will. The question is did Markbass maintain their sound and quality when they switched? Go and listen to the new amps and decide.

[quote name='mcnach' timestamp='1498393470' post='3324258'] With regards to noticing you, it doesn't count if you play naked. [/quote] I'd clear the room if I did that!

Good move. I had a guy from the audience come up to me last week and say, "I'm not listening to the rest of the band. I'm only listening to your bass. It sounds fantastic." What's that urban myth. . . . no one notices the bass player? They do if you make them want to!

[quote name='Mykesbass' timestamp='1498298440' post='3323685'] I need some Keb Mo in my library but there's a lot to choose from - care to point me in the right direction Chris? Thanks. [/quote] Hi Mike. For song writing - all of them except for a Christmas CD he put out for some inexplicable reason. For the bass playing, the early ones had Hutch Hutchinson on bass, the middle period had the marvellous Reggie McBride and the latter period has a role call of some of the great bassists still active today. IMO they are all good, but I'd start with Just Like You, Keep It Simple, Suitcase, The Reflection, Slowdown and The Door. Then work around to the others in time. There is also an early DVD Keb Mo sessions at West 54th which is worth owning. Edit: there's an Infinity Hall gig on Youtube with Vail Johnson on bass and a few more videos worth watching with his current line up, Stan Sargeant on bass.

The same articles could have been written about accordions, saxophones, trumpets and banjos when the popularity of their music was on the wane. 100 years ago tens of thousands of homes had an upright piano in the parlour. Where are they all now? Hawaiian music was the most popular music that bands were playing on the West Coast when Fender started. Most of his early instruments were designed and intended for this type of band. All gone. My parents wouldn't have gone to a festival if you paid them, now several friends and their kids are at Glasto. My son regularly phones me up and asks if I want to see "so and so". I took him to see Vulfpeck. You can't rebel or be cool in a band anymore. There is no counter-culture. I don't think that "guitar hero" music will be played much after the current generation hangs up their Strats. I see some sons of "oldies" out there playing but most of the kids are off doing something else. Maybe the music will never die but it will never be the all encompassing interest of a generation again. There will be no requirement for the tools of the trade either. Yes the electric guitar is in for a serious "readjustment".

[quote name='peteb' timestamp='1498255170' post='3323531'] The thing with Gibson is that they have relied so much on their name for so long and the quality of their new stuff is so poor for what they charge, that anyone with that sort of money will buy from the many other guitar builders that offer better pieces at much better value. [/quote] Two "Gibson fan" guitarists I played with a few years ago wouldn't buy Gibson any more because the quality was so bad. One bought an Orville and the other a Burny. Both far better Gibson copies made by Japanese companies in the 80's.

I'm not a "completest" by any means and there are a couple of stinkers in here that even I wouldn't buy, but I have nearly all the CD's and some of the vinyl by the Band, Little Feat, Keb Mo and Delbert McClinton.

[quote name='ambient' timestamp='1498210160' post='3323108'] I bought one from Maplins about 3 years ago. Unfortunately one of it's wheels fell off last weekend during a trip to Bath and Bristol for gigs. [/quote] You didn't have a backup with you?

Primarily he's talking to the people in the room so his presentational focus is there. In education you go at the speed of the audience so, again, that's the call he's made. VW's presentation will probably be new to the guys in the room, but film it and you're going to see subjects repeated. That's not VW's fault. VW gets booked on Bass Days to be the showman and play the party tricks. So it's hardly surprising that's what you get on a film of a Bass Day. When he's working with the likes of Bela Fleck, Chick Corea, Keb Mo etc you get an ensemble player of fantastic skill and ability.

I've owned Mk2 and Mk3 5 string Wals and the Mk3 was my favourite. It balanced well and just felt right.

Best be safe and have an AA van following closely behind.

+2

[quote name='chris_b' timestamp='1453166091' post='2957120'] Lozz. . . my Lakland/GHS flats have been on my P bass for 4 years and I wasn't planning to replace them, ever! [/quote] Well never say never. . . . I did change them out for a set of TI's. I've had several pats on the back for my sound since putting the TI's on.

Victor always makes sense. . . . [url="http://www.youtube.com/watch?v=8UzYhyodvfs"]http://www.youtube.com/watch?v=8UzYhyodvfs[/url]

[quote name='scrumpymike' timestamp='1498035467' post='3322069'] I'm sure that most top-end manufacturers put a fair amount of thought into their choice of OE string gauge/construction for a given design. I'd replace with the same gauge from the same maker unless I had a good reason for doing something different. [/quote] I think you're giving builders too much credit. Boutique bass builders might have strings they prefer but they will know that their customers will put on a variety of strings and will build accordingly. Volume builders? Strings are just another commodity to be bought in by the truck load. Give them the best price and you've got the contract. It has never occurred to me that there are players who will think they have to use the same strings that came on the bass for ever! That is a very strange and limiting outlook.

A car designer doesn't care which make of tyre you put on his car, and a bass guitar designer doesn't care what strings you use. To that end he'll design a bass that will have multiple adjustment points. Manufacturers will choose a generic string size. One that most potential customers will be happy playing when they are looking at the bass in a shop. Use any strings that get you the sound and feel you prefer.

Some guesses: I'd look at string height and technique before I'd blame the strings. Lower your strings and don't grip too tight. How are you holding the bass? Try not to have sharp angles in either wrist. Don't over stretch your fingers when playing. Are you playing regularly? Playing a lot but infrequently will cause problems. Play a little and often to build up strength.

I believe Mesa controls the pricing pretty tightly, at least they did when I bought my Mesa 400+ about 20 years ago.

[quote name='CameronJ' timestamp='1497961784' post='3321627'] Unless of course the sound guy was genuinely terrible and a d*ck [/quote] They do crop up. Maybe it's luck but in many years I've only ever encountered 1 totally incompetent sound engineer. Unfortunately, if you're unlucky enough to bump into one of these guys there's not a lot you can do about it. For your own satisfaction you have to make sure that, whatever happens, you're going to be the absolute professional to the end.

With the light weight of these cabs. . . there probably is no reason or advantage to adding bolts.

I don't do multi band gigs, but on a festival, I meet the sound guy and introduce myself, get his name, shake his hand and have a chat about the sound. I have great DI's in all my amps. I give the FOH post EQ. I have never had an issue, problem or confrontation with a festival sound crew. I always thank the guys after the gig.

There are sought after versions of Strats and Les Pauls that have been up around this level for years. About 10 years ago we did a gig for a corporate lawyer at his house (we set up in his ballroom) and he showed us his "collection". A room with about 40 collectable and vintage guitars set up on stands and many more still in their cases. He reckoned it was all worth about £10 million. "Collectors" work to a completely different set of rules.

[quote name='neilp' timestamp='1497872332' post='3320954'] With regard to upgrading amps/cabs, to what end? [/quote] The end that, while you seem happy about all your gear and sound, you still seem to want to buy "something" more. Rather than us throwing suggestions around. . . what problem have you got that you think more gear would fix?

I was told I had to DI on one gig. When I got there I discovered it was to keep the neighbours happy as the gig didn't have a music licence!