chris_b

The football, the boxing. . . everything stops for bloody TV. We've just rescheduled a November gig because of a football match.

Some Motown tracks were recorded in LA. Some then had the bass lines over dubbed back in Detroit, by James Jamerson. Some were recorded as demos (the players got paid less for demos) and they say that some of the demos were then used as masters. A lot of tracks were re-recorded for different artists, album tracks and live shows. Some of these sessions were well documented and some weren't.

I'd get the MB Standard 102HF. Bigger than the Traveller cab. . . and better tone.

That's par for the course Isn't It? Even the best players seem to have their flaky side. I turned up to a recording session yesterday with the 2 numbers under my belt, only to find the others had been working on different numbers and they hadn't bothered to tell me. I asked for a set list on one dep gig and was told, "The guitarist starts a song and we just follow" and when I asked again, "I thought you were a professional." I declined that gig. I've seen more, self centred, unreasonable and selfish idiots in management, so very little surprises me any more.

Elkie Brooks and Robert Palmer. Howlin Wolf and Bette Midler. Joe Cocker and Mavis Staples. The list is endless.

I've got 2 of those this weekend. 24 numbers from one band and 21 plus an unspecified number of "rock and roll" tunes from the other. I have set lists from both and mp3's from one, as there are 7 originals. I'm making charts for the numbers I don't know and notes for the numbers I've heard before. With only 3 days notice I'm not learning the songs, but, with the paperwork, will easily be able to play them by the weekend.

In both bands, the band leader books the gigs and we use a dep for anyone who can't do the gig. Everyone is in at least 1 other band so deps are no problem for us.

[quote name='Nicko' timestamp='1453124946' post='2956546'] Mine are set to off as I've never found these add anything to my sound. [/quote] +1 I used an LM2 with Aguilar GS112 cabs and then Bergantino AE112 cabs and I had both filters switched off. I thought the LM2 sounded great without them.

Lots of 50+ saying age doesn't matter. . . . . . . . . but big silence from everyone under 30!

I used to answer ads is Melody Maker and even back then age was always [i]the[/i] deal breaker.

What a beautifully musical player.

I have a pretty terrible track record when auditioning. I don't do many but even so the last one I passed was in 1985! Since then I have got into every band through recommendation from people I've played with or those who have seen me play. As Blue says, most "good" bands and those who are worth playing in don't advertise. No band I've been in has ever advertised. There is always a friend of a friend. I dread ever having to go to the "market place".

[quote name='Philverado' timestamp='1458255615' post='3006155'] I really want just warm, rounded and louder. [/quote] You need to try an Aguilar TH500.

[quote name='jaakkeeeeeee' timestamp='1458559527' post='3008508'] I have two SL112's. I use Sandberg California TM5's. I have run other amp heads through the cabs and found what I was looking for but seems to struggle with the TH. Maybe I am just picky! [/quote]i But you identified a problem with the 5 sting bass! If a 4 string bass works and a 5 string doesn't I'd be looking at the bass or the EQ. Have you tried other 5 ers through this amp?

I think it's a jolly pop song. I've played it before and audiences like it, a lot. Any song that causes such a positive response would always be on my list of songs to do. I don't see why people should rant about songs they play in cover bands. Every song you play to an audience should be your best performance. A cover band isn't about personal favourites, it's about the business of entertaining an audience.

No issues with my 5 ers, What basses and cabs are you using. My TH500 sounds great with my 5 string Lull PJ5 and Lakland 55-94. This amp sounds perfect with both my Berg CN212 and Super Compacts. I'm A/Bing it with my new Mesa D800 and so far it's ahead by a fag paper.

[quote name='CletePurcel' timestamp='1458392515' post='3007198'] My question is should I really do this memorisation and playback or should I concentrate on trying to feel the patterns and scales associated with the chords? I guess my question really is as a beginner will it all gel at some point down the line or should I put the more tedious work in now on making sure I understand why the notes are written along with each chord. [/quote] You do both. Put in all the tedious technical work now and work on being able to "feel" at the same time. You also have to change your focus and thinking so you're not a guitarist playing bass but a bass player. Many if us start out having to learn everything at once. we have to learn how to make music, how to play an instrument and how to play with others. Surely as an experienced guitarist, you've already done the groundwork. Playing with other musicians, the music, notes, chords, modes, scales and timing doesn't change. Now you just have to adapt what you already know and how you play it and expand on it as a bass player.

She's lost me with all this theatre stuff. Sorry. I preferred her being a musician rather than a "performer".

These are at the top of my list of poignant songs. . . . Don't Give Up - Peter Gabriel I'm Not In Love - 10cc and my favourite. . . Shama-ling-dong-ding - Jesse Winchester https://www.youtube.com/watch?v=5uKGWpqnS8E

I've played in some bad rooms but my secret weapon was Bergantino cabs. They control the low frequencies so well that I hardly ever got any mud or boom, even on the worst stages. Another obvious comment, which seems to be news to so many players; if you think it's too loud it is, but whatever the volume, the band has to have a balance between all the instruments. On functions we always have a get in time and a end of set up time, before the guests arrive. We are always sound checked, off the stage and out of the room by that time. I played with a great drummer who bought his own mixer and monitor, just for his bass drum. He took a feed off the FOH. I could hear it loud and clear too. My playing tightened up and improved just by hearing a loud bass drum. It's a great Idea if you get it right.

Vertical, if there is no room on the stage or I'm using just one cab, but I prefer horizontal for 2 cabs.

You'd be surprised (or maybe you wouldn't!) how many great bands have poor sound engineers. Many years ago I saw Little Feat at at the Shepherds Bush Empire and when they started the sound was fantastic. Like listening to the record. I was beside the desk and noticed that the FOH guy didn't stop twiddling. By the 4th number the sound was terrible. Too loud, no balance between the instruments and no bass other than a woomfing noise. Dave Gilmour had a good guy at the Albert Hall last year. Everything was clear as a bell the whole night, so it can be done.

Also checkout a couple of off shoots. . . . Ann Street Soul and Groove Spoon.

Is anyone out there running 2 Super Midgets? And anyone regularly running a Super Midget with a Super Compact? Alex lists that as a good pairing on the website. Is anyone doing either of those? If so what is your opinion of that rig?

The TTE will give up way before the BB2.