chris_b

I love these guys. Duck Dunn, John McVie, Bill Wyman, Willie Dixon, Tommy Cogbill, Willie Weeks, Chuck Rainey, Reggie McBride, Nathan East and Wilton Felder.

In defence of the rehearsal rooms: every day of the week they get the people through the door that this thread is about, so they have to protect their investment. If they put in anything smaller they know it'll get blown to pieces. On the few occasions I've been to a rehearsal room the drummer has always bought his own kit because the studio kits are wrecked. That's the level of musicianship we're talking about. I was in Panic, West London one night and the bass player next door was so loud that we couldn't hear each other speaking in our room! The problem isn't the half stacks and 810's it's the guys who don't understand that the volume control can go both ways.

"I have to be this loud to get my sound" is shorthand for I don't know how to get a good sound out of my gear any other way, and anyway the sound of the band as a whole doesn't matter to me.

Last November 20th was 50th the anniversary of my first gig. Within 18 months we had been conned out of the money for 5 gigs by the infamous Don Arden and I've been ripped off at least once every decade since. After awhile you can see many of these situations coming, but some you can't. Looking on the positive side, I haven't been ripped off by a band leader for a long, long time. In this business if you can miss the crooks, devious, idiots and just plain flaky you're very lucky.

Very high volume in small rehearsal rooms is pointless, damaging everyone's hearing, achieves little and is [i]very[/i] amateurish, even immature. Hearing protection is essential. Whether you carry on with this is up to you, but I wouldn't be playing with these guys.

January is certainly cancelled. . . . probably the whole gig. People have ideas that don't work out as they planned and this gig sounds like one of those. I'd assume it's finished but you should clarify some of the "wishy-washy" language and see if you can talk him into putting on a few "specials" next year. Make suggestions on how you can address his issues. The volume (take the volume down), the space (less gear, give the stand-ups more room on the stage) and getting the stand-ups involved.

You can easily tell when there are Basschatters at our gigs. We get drowned out by the sound of tutting when we start Mustang Sally.

[quote name='mikel' timestamp='1480848350' post='3187463'] That's one way of looking at it, but I play for the song. Being a member of a band I prefer the audience to think "What a great band they are" rather than how good I am. Depending on the genre I think we all have a job to do to make the song the best it can be, and locking into the groove with the drummer is always my top priority. Showing off comes a long way last on my list. [/quote] It seems I haven't explained myself very well. I wasn't advocating showing off, over playing or doing anything other than making the rhythm section as perfect as you can. You can easily stand out by being the perfect [i]band[/i] player, look at Chuck Rainey, Nathan East, Reggie McBride, Bob Babbitt, John McVie, Duck Dunn. And. . . . as I always post, the best players serve the song first.

It's all in the way you play 'em. Get it right and I think the (very) few players who would notice would jealously think; Damn, he nailed that part! But your style should make the bits you steal sound like they're yours. That's the way it works for everyone else. In Jazz the great players make a point of "quoting" from other numbers and players.

Is this a valve amp, ie a valve power section?? Unless Marshall tell you a different story, you [i]have[/i] to plug a cab into a valve head. I used a Marshall 100w Lead amp for years in the 70's. The guys in the Marshall shop said it would be fine and it was.

[quote name='sirmuppet' timestamp='1480785885' post='3187164'] I checked those out. They look pretty cool. Haven't heard much about them [/quote] I only have 1 non-OBBM cable a Whirlwind from the early 90's. Good cables will last forever and OBBM (Dave) makes exceedingly good cables.

We need one of those chicken wire frames between us and the bad audiences.

How can you tell anything in that Kooks record. The production and sound is terrible.

I've had to stop drunks wandering onto the stage and picking up guitars several times on gigs. One guy looked angry enough to start pushing and shoving, but I was rescued by his friend who defused the situation. Why don't we get happy drunks these days? Anyway, I never leave my bass on show when we're not playing.

[quote name='arthurhenry' timestamp='1480780287' post='3187098'] You're the guy in the village hall! [/quote] It's like eating peas with your knife. You can do it but if you have any class, you shouldn't.

[quote name='Woodinblack' timestamp='1480778432' post='3187078'] I doubt anyone in the audience has noticed any bass players [/quote] If the bass player isn't being noticed then it's his fault. Turn up and play better lines. Make them notice you. I got two positive comments on Wednesday. One from a member of the audience (who wanted to know what gear I was using to "get that sound") and one from the band leader (if I made him happy then it's job done).

Sorry but putting your foot on the monitor (even Mr Harris) is lame. Anyone playing a great bass line or riff in the last 60 years has probably nicked it themselves. If you have any personality as a player you'll make what you play sound like you, so it won't matter where it came from. Me? If I can fit it in I'll use it.

I read an interview where the drummer Questlove was complaining that D'Angelo was asking him to play so far behind the beat that it sounded totally wrong to him. Seems to be an effect that some people want on their records. The only thing that would bother me is bad playing and being out of tune. Which thankfully happens less these days.

BO or NT would be a long way down my list of reasons to buy or not to buy a bass. Much less important than overall sound, active or passive, feel, look and weight. From what I've heard the differences are as described above, but in a band and on a gig I doubt that many would notice.

What bothers me on You Really Got Me is the undampened drums boinging and the awful guitar solo. Still a great number though.

I know PT got Marshall to build an 810 to try and keep up with the racket JE was making. Our guitarist in the school band had one.

. . . . no, really, I did!

. . . . I did tap my right foot once.

I thought that was Nick Mason.

[quote name='Lozz196' timestamp='1480509200' post='3184918'] The article also says it took more than a decade for Ronnie Wood to become an official Stone. [/quote] Didn't RW say it was 25 years?