chris_b

Keep going as if it didn't happen, never look around and leave all post mortems until after the gig.

Leave it all in the car and have a chat with the pianist. Suss out his thoughts and take it from there.

I love the drummers I play with. In the Summer I did a run of 10 gigs with 4 bands and had to play with 10 different drummers. From a rock beast to a light jazzy player, they were all excellent players and great guys as well. I had the time of my bass playing life.

[quote name='spectoremg' timestamp='1477261199' post='3161020'] Which is the case for many other basses at a quarter of the cost. I'm starting to smell Wal-elitism (Walism). [/quote] If that was the case these other basses (any examples?) would be coveted and played by the good an great and have an equally stellar reputation. No [i]isms[/i] here. There are good basses and great basses. Wal is one of the latter.

Good news. This is why I often don't immediately sell equipment that replace. You can make some great discoveries when you go back to your old gear.

In the old days, in the Hi-Fi world, they used to say that you should split your budget, spending 50% on the speakers and 50% on the rest. Having only played boutique-ish (Dynacord, MM, Mesa, Aguilar, Epifani, Bergs and Barefaced) cabs since the mid 80's I'd say that a quality cab will have the greatest effect on improving the sound of an average amp, bass or player. It's the one component in the signal chain that can do this. If you don't have a good cab then everything else is fighting a loosing battle.

They are very expensive so I doubt they've sold many. The design is mainly for RSI sufferers.

I've just noticed Phil Chess died a few days ago. With his brother, Leonard, he kick started rock music by employing Willie Dixon as a song writer and record producer and then signing the strongest roster of artists, including Muddy Waters, Howlin' Wolf, Bo Diddley and Chuck Berry to the Chess record label. This was [i]ground zero[/i] for modern music. Sad news.

I like the sound and feel of the original synth bass part. . . . but I also like that Bruno Mars, with easy access to more talent and gear than we could ever dream of, treats the live performance differently and doesn't try to copy the record. Big lesson there. I see the point in asking the question, but Jamareo Artis and Pedro Zappa make the bass guitar sound strong enough that I wouldn't want to sound like the synth if I was playing this number on a gig.

Not for me. . . I'm a Volvo man.

Little Richard, Jerry Lee and Carl Perkins got the ball rolling but Chuck and Bo made their music the basis for most of what came after. Right from the beginning (1955) Chuck Berry wrote fantastic and almost perfect songs. Like most of the guys back then he was treated very badly by the music business and the white community generally. Last month I was in Atlanta and went to the Civil Rights Museum and various Martin Luther King museums. It is quite upsetting to see what those guys suffered back then, but most didn't let it fester into the stupid behaviour that we've seen from Chuck since the late 60's. Even today, like Mustang Sally, a Chuck Berry guitar intro is an instant floor filler.

Drums, bass, keys and sax's was one of the Graham Bond line ups in the 60's. When I started I always played in bands with brass players. I even went as far as to check out starting a drums, bass and brass band but in the very early 70's no one was interested. I needed a vocalist which has always been my problem. Then Back Door appeared and blew my ideas into the weeds.

So they've quoted the haggle price without you having the hassle of beating them down. Sorry NJ, looks like you've lost out, not them.

[quote name='vmaxblues' timestamp='1476703456' post='3156382'] And, what can I do about it? [/quote] We're old. . . sh*t happens. . . speaking from personal experience, of course! Get a longer strap and play with the head stock raised a little, at more of an angle.

The YT's of recent Chuck Berry gigs are terrible. Approach this album with care. Better still buy a compilation from his 50's - early 60's material.

Check this . . . [url="http://www.youtube.com/watch?v=l1toLihZkDs"]http://www.youtube.com/watch?v=l1toLihZkDs[/url]

I'm not sure 2 BF One10's would fill a room if you didn't have PA support, but I do know 2 Super Compacts will.

[quote name='Raymondo' timestamp='1476096853' post='3151151']. . . . after leaving my wife, I got a tax refund. . . . [/quote] I didn't know you could claim for that!

[quote name='thebrig' timestamp='1476099289' post='3151193'] That's absolutely brilliant Chris! but how do you remember the exact date? [/quote] I never wrote a diary, but I have a book that lists all my gigs for the first 10 years or so.

DB cabs sound great but are too heavy for me these days. IMO the TH500 is a better amp to use with DB cabs than the Streamliner.

Designing a set that starts with a bang, dips a little in the middle, then builds to a last number that will leave the audience wanting more, is something that needs thinking about and planning. On the last set you need to keep 2 strong numbers back for an encore. If you're on a curfew, always stop early enough so you can fit the encore in without running over.

[quote name='zbd1960' timestamp='1476045150' post='3150842'] Agree with the comment about jazz theory 'monsters' - I tend to think it is often excessive and I'm not always sure it's that helpful [/quote] You can be Dusty Hill or Adam Clayton if you want to, but "theory monsters" would include James Jamerson, Carol Kaye, Wilton Felder, Jaco, Tal Wilkenfeld, Nathan East etc etc. No matter what you're trying to do, knowing more stuff is always going to make your day easier and better, especially if you're playing a bass.

In the many years I've been gigging no one has ever said, "Why don't you sound like so and so". If they did I'd tell them that I play like me. . . . sounding like I sound. When I gig with a Reggae band I'll start with a tone for that band, same with the Rock, Blues and covers gigs, but I don't change my tone during the gig. Maybe I just don't listen to bands who do that, but I don't hear any other players on the circuit or on big gigs doing that either.