chris_b

You used to be able to put albums (which were 33 rpm) on at 45 rpm and the bass line became more prominent. Of course progress has put paid to that method.

Then there's this guy. . . . [url="http://www.youtube.com/watch?v=ptKIjo2oLBI"]http://www.youtube.com/watch?v=ptKIjo2oLBI[/url]

Then what do Bee Basses smell of?

I find vintage buckets sounde better than modern buckets.

I was asked to dep for an original rock and roll band. Then they told me I needed a haircut, quiff and a bucket of brylcreem. I declined that one!

I play in a trio with a Rock/Blues guitarist and a few years ago I did about 6 gigs in 2 months where the band leader used a different drummer on each gig. All the drummers were good, had learnt the songs and played very well. No down sides at all. As you would expect, they all played with slight differences and it was very interesting for me to play with these guys. I met them, they met me, we exchanged numbers and I have since played in their bands and some of them have played in mine. A win win situation if there ever was one.

[quote name='discreet' timestamp='1444813586' post='2886206'] This is the problem I have with covers . . . [/quote] The only backlash should be against closed minds and bad players. There are many poor players and poor listeners amongst hobbyists, week-enders and the lazy and incompetent but taking a song and rearranging it or "doing it our way" are valid ways of making good music. One of the best examples is With A Little Help From My Friend by Joe Cocker. Surly the best cover ever. Tina Turner was an expert in knocking out a great "cover". As with everything, some rearrangements work and some don't. Don't paint them all with the same brush.

Playing by ear is an important skill to master and one that gets better the more you do it. It's easy to hear if the lines goes up, down or stays the same. You then have to learn by how much they are going up or down. Then you learn what octaves, 3rds, 4ths and 5ths sound like in relation to the root and chords. Most modern songs are pretty repetitive so you get an idea what's happening in verse one and aim to play it in verse two etc. Start with simple songs and get more complicated as you are able to improve. You will be a better player when you can do this when you are practising and in real time. Also try to read the dots.

Why not just put the info in the thread? Then every one can see it.

Dave, tell me, have you won the bet yet?

[quote name='argibbo' timestamp='1444246141' post='2881603'] I'm not gonna give up on the ARG valve amp, never, [/quote] Why are you sticking so doggedly to an amp that the band hates and even you admit has problems with its tone? Surly you can take a hint? If any part of your sound is bad then that cancels out all the good sounds. At the very least, I'd use the Ampeg until you figure out what you did to cause the bad tone in your DIY amp and do a rebuild.

[quote name='DavidMcKay' timestamp='1444757388' post='2885698'] Thoughts?........ [/quote] [url="http://www.youtube.com/watch?v=Z9t_KDGqOmE"]http://www.youtube.com/watch?v=Z9t_KDGqOmE[/url]

That's an odd situation to find yourself in. I haven't experienced anything like that.

That you are only as good as your drummer is very true. Try playing with a drummer who can't keep time and he'll destroy your will to live. Bum notes on other instruments don't have quite the same devastating effect, but weak link comments apply to the other band members as well. An average band can carry passengers but no one can carry bad players. I'm lucky, I usually play with good drummers. We just fired our long standing drummer, not because he wasn't good, but he's just slipped into playing like a drum machine. Nothing was bad, but there was nothing good either. Band dynamics are a very tricky thing to get right, but good bands will get things right more often.

I bought my first Berg cabs off Mark before he owned the shop and I've always found him to be helpful and knowledgeable. I used to drop in on the way to gigs. I haven't been that way for a couple of years and can feel a visit coming on. I believe selling Roscoe's is what started him with the shop. They are excellent basses and he sells them, so why would he not suggest an alternative? Generally people don't try it on with me. All you have to do is listen, smile and say OK or no thanks. Sometimes someone comes up with a better idea, so I always listen.

I've been in at least 2 bands for most of my playing life. Everyone I know is in multiple bands and no one gets upset if you dep the gig. We know a pool of players who can step in and do a good job. I dep as much as possible as well. You have to have a hierarchy of commitment. A main band and the others. Keep a diary, let everyone know as soon as possible if you can't do a gig, don't leave anyone in the lurch and don't make any last minute changes, unless there is no other alternative. Make sure you're a good enough player so that people still want to use you and know good deps. But not that good! I'm currently in a cover band, a Blues/Americana band and occasional Blues/Rock band. Times are getting tough. This is my lowest number of bands for 10 years.

My first thought would be to keep the amp and put it on top of a BF Big Twin 2.

I play originals as well as covers, but if anyone thinks that cover bands are simply "painting by numbers" then I guess I'm trying to be Tom Keating or Van Meegeren. If I can play numbers as well as or even better than the original then I'm winning. IMO the validation comes from others liking what ever it is that you do. You need gigs to find that out. That's all I'm trying to do. . . come out ahead and leave as many people as I can in my wake that are happier than when I started.

My view, as expressed in other threads, is that it's better to be gigging than sitting at home, so I'd find the best band and join it. And that's not being a sheep-like, at all! That's step 1. Step 2 is to keep looking for what you really want to do, but in the mean time you're staying match fit, getting known and getting to know others. If you're any good others might seek you out. I have no idea what "screamo metal" is but going by the name, I don't think I'd want to play that either.

[quote name='EssentialTension' timestamp='1444485526' post='2883611'] During his lifetime Bach was much revered for his regular organ gigs - so I expect he was only too happy to get out of his bedroom. [/quote] I bet his neighbours were grateful as well. Those 64' stops can cause all sorts of problems.

I have an A bass. The B and C basses can be played at home and may get to a rehearsal but the A bass is the A bass for a very good reason. Why would I want to gig with anything else?

I think Blue explains himself very well and I can relate to some of his views and less so to others. I'm not bothered by the dividing line between opinions. It is different for everyone so I don't see why anyone should take umbrage in this or any other thread.

[quote name='ezbass' timestamp='1444462163' post='2883364'] I was under the impression it was a Ric too. MT says he didn't like the sound of Fenders played with a pick (he says he tried a J early on). The book Blowin' Free lists the Ric as being used at the time of Pilgrimage. The Ric was replaced after it was damaged (neck break) by the T Bird (he borrowed Pete Watts' and liked it). I'd love to have my gear knowledge improved. What's the skinny on the P? [/quote] Sorry guys. . . . I misread the post. Didn't realise you were talking about 2 different things. I thought the second part was still referring to Bob Babbitt. Caught out by speed reading the thread. As you were, I know nothing about Wishbone Ash.

I've played with some very good psyco-meglomaniacs and sometimes they are nice people. As long as they are doing good stuff I'm happy to let them dictate. As long as it's a good ride then count me in. Like all dictators they have to achieve success to remain in charge and keep me interested. These guys do not need to listen so they don't. If you need to "contribute" to the decision making process then these people and bands are not for you.

[quote name='bassman7755' timestamp='1444465306' post='2883402'] Thing with a 6 is that the neck width generally means a change from thumb-on-top to thumb-behind grip [/quote] This is the rub. Too many players decide they don't like wider fret boards because their technique isn't correct and blame the instrument. Same goes for the "small hands" myth. Play correctly and all of these things cease to be a problem.