chris_b

A set list should have dynamics. Always start with a couple of up tempo numbers and end the same way and flow in the middle. By organising the set before hand you don't end up with embarrassing gaps between numbers while a discussion takes place about what to do next, 3 minor numbers, 4 shuffles or 3 slow numbers one after the other, excessive instrument swapping or an argument about the next number. If you have a band leader who can just pick the best set out of thin air (lucky you) you don't need a written set list. I've never seen anyone that good, so I always ask for a written set list.

If you watch most payers they will move their thumb (moveable anchor) between strings, usually 5th and 4th, depending on the note they're playing.

Sgt Pepper. . . . the original concept album.

Who needs a second guitarist in the first place? If your 1st guitarist is good enough to play the set on his own, do it. Embrace the difference in the sound, the dynamics and especially the spaces. Don't fill in any of the spaces.

I'm still using a 27 year old Whirlwind cable which has done many hundreds of gigs. Unfortunately the current Whirlwind's are not a patch on the old ones. For a start they only have a 5 year guarantee as opposed to the 25 years guarantee that mine had. Apart from that cable all my leads are OBBM. Dave is the only guy I'd talk to these days.

Unfortunately it's a fact of retail now that the only music shops that are going to survive are the ones fronting a successful online operation.

Ask. I'm sure he will. Unfortunately it's not a new situation. . . . . we used to get arrogant, inept and "heads right up their arses" staff in music shops back in the 60's. There are good guys working in shops.You've just got to find them.

Order your leads online from Dave. . . OBBM. My OBBM instrument lead is 5 years old and gets used about 2 times a week.

Occasionally I play with a guitarist who does some ZZ Top numbers. You should see the look of joy on his face when he gets my single note bass lines as opposed to the "over played" lines of his bass player. When that type of bass line is played in the right place no other will work half as well.

Adam Clayton is a great player, because he is perfect for his band and because he has launched the careers and hobbies of many bass players. Greatness isn't about how many notes you can play or how many scales or modes you can fit into a song. Any numbers of us can overplay in a U2 number. AC doesn't that puts him a cut above the naysayers.

This is why I suggest not swapping back and forth between 4's and 5's while you're getting your 5 string technique together. The size of the neck and weight of the bass is a problem? I'd say that sounds like the OP isn't ready for a 5 string bass yet.You buy a 5 because of the sound, tone and flexibility. You can get 8lb 5's but they'll cost more. Never mind there are a lot of good 4's out there.

[quote name='The Hat' timestamp='1454875117' post='2973844'] As I am only a beginner I've learned that one of my favourite genres, funk, is probably not in the domain of a beginner. That said, how long would it take a beginner to get into funk, months/years ? [/quote] You're already in to it. You've just got to learn how to play it. It takes some people a lifetime and they never play it properly, but if Funk is your favourite style you've got to give it your best shot. Start with something like Higher by Sly and the Family Stone or Ball of Confusion by the Temptations and move on from there.

Glockenklang, Tecamp Puma, Mesa Boogie D800, Berg B|Amp and Thunderfunk are clean sounding amps in my experience. You'll also need a good cab to get your clean sound out to the audience. A lot of cabs won't produce a very clean sound.

Unless it's a totally unique requirement bands won't fly with gear. And probably won't even then. Bringing your own is expensive, complicated and full of potential problems that could kill the gig. Just try getting several tons of gear through customs in some pretty flaky countries. Some international tours have a budget for bribing local officials. If you arrive with broken gear it's up to you to fix it. You might only be in that country for 18 hours. It's just not feasible or cost effective. If they are on an international tour the promoter will locally hire in the gear to the spec provided by the band. If you can drive between gigs the gear will be hired for that phase of the tour and trucked. The tour manager will be responsible for arranging that the promoter gets the right gear to the right place. Sometimes the musician will ask for something that can't be sourced and will have to come up with an alternative. Bass players are the easiest to sort out. That's why you will see Ampeg SVT's on 90% of touring stages.

I had a Thunderfunk 550 and even though I was upgrading to the 750 I still regret selling it. When I ran my 750 through 2 Barefaced Super Compacts a guy came up from the audience and told me it was the best sound he'd heard from a bass. So much for "no one notices or cares about the bass"!

We have a very good local band where the bass player uses a pick. He's a great player and makes the bass sounds right. . . . he's Tex Comer ex Ace.

No big deal at all. I understood the meaning of the word before I posted. I believe the points in my post still apply.

Dear me! Given the speculative (flimsy) reasons why many here buy stuff it's got to be a reasonable bet that some will find they are not keen on what they've just bought. Most of my gear has been bought on the bounce. We provide a very useful service, so, IMO, it's reasonable to let a new owner know that there is a queue if they decide to move the item on. Once I had an PM from a guy who said; you've just bought A but you've already got B. Do you really need both? Do want to sell one of them to me? A week later I called him back. It was a very helpful PM. I've sent many PM's to people telling them I'd be interested if they decided they wanted to sell. BC has an open and public market place. If we leave feedback it's even more public. How this has anything to do with "etiquette" beats me.

Sad news. Great band.

[quote name='Donnyboy' timestamp='1454581259' post='2970932'] a bit more complicated than flinging your gear in the car & driving to a pub [/quote] I believe for the South American leg of the Dave Gilmour tour they applied for 56 visas for Brazil. A logistical nightmare. They had guys flying in from the UK and the US and the European leg wasn't much easier.

I believe it. The going rate for a major festival head liner, such as Springsteen, The Cure etc, is between £450,000 and £500,000.

Betty Davis bass playing was shared between Larry Graham and Doug Rauch.

That's a shame. Our band supported Quo in the early 70's and standing at the side of the stage with them at full chat was to experience a force of nature. They're one of the great rock bands of all time.

It's a modular case.

[quote name='stoo' timestamp='1454410753' post='2969396'] Partly for height - the place we normally play at has a fairly cramped stage and I usually end up stood very close to my amp. Partly so I could use them as a stereo pair of PA cabs if need be (I've top hats for pole mounts in mine) But mostly - yeah, it's so I've got the right ratio of screen to speakers for my telly. [url="http://s10.photobucket.com/user/scrapperstoo/media/guitars/tv_zpsmthkhuhy.jpg.html"][/url] [/quote] Howlin Wolf at 500 watts. . . . bloody perfect.