chris_b

I don't know about shafted. . . . he split the royalties for Stand By Me 50/50 with the publishing company, then split his 50% with one of the Lieber/Stoller guys (can't remember which one) for coming up with an arrangement (he [i]was[/i] ripped off here, because arrangers usually got fees not royalties), then he split his 25% with a foundation to help disadvantaged black kids. It says a lot for the sales and plays of Stand By Me that he managed to live pretty well on his "share" of the royalties. As always, sad news. Ben E King was one of the first gigs I went to. He was playing a club in a scout hut in Cowley, near Uxbridge, backed by Tony Knight's Chessmen. What a great night.

Surely this isn't a string problem. If your right hand cramps up holding the pick, it's a strap problem. Raise the bass until you've got a better angle for the pick. Job done.

To much choice is a bad thing, as I found out when I was in the duty free trying to decide between very large bottles of Gin or Tequila and almost missed my flight. If you discount pedals, the many tones of JJ Burnel, James Jamerson, Pino, John McVie or any other top bass player makes a very short list. My take on basses is get the best sounding one you can afford and be happy that you sound good. The people who matter [u]will[/u] notice. PS If you sound good and you play well, everyone will be happy you sound like you.

I haven't done a gig in the last 20 years where a 210 would be enough. Playing with a drummer, the smallest rig I'd carry is 2 112 cabs. PS Barefaced cabs would be the only 1 cab solution that I would try. The Retro 210, BB2 and SC might suit you, also one of the original 15" Compacts.-

You can't let this opportunity slip through your fingers. McCartney on a bad day is better than most other bands.

Sad news, but Louie Louie. . . . what a great record.

If a promoter offers you a gig with a share of the bar take. . . . know it won't include credit card sales, which could be a large part of the night's sales.

Are there music shops in Glasgow? Make it a day out. Go to the next Bass Bash, run by ACG and over to east of you. There are other BCers in Ayrshire see where they are gigging. Go and check them out. I think you could be over thinking this. In reality if you're playing at home anything will sound OK, but if you're intending to gig you'll need to go down the larger and expandable gear route. I'd get a modular rig that you can use at home and in a band. I wouldn't get a combo because you're potentially at the start of an upgrade path and IMO separates are the best way to go if you're upgrading. Something like a Hartke LH500 from the BC classifieds would be a good start. Add a 112 or a 210. When you want to gig get another 112 or 210. I wouldn't discount Markbass. I thought mine was warm, with a vintage tone, but there are a couple of Barefaced cabs in the classifieds. They are a great 1 cab solution.

I used EVM 15's for about 20 years in Dynacord and Mesa Boogie rigs. What a great sound. In the end the Road Ready MB 115 and 210 really did break this camel's back! I only switched away from EV when they said they wouldn't be making any light weight cabs.

[quote name='bluejay' timestamp='1428921164' post='2745874'] First semi-acoustic gig at The Rocket, Acton . . . . [/quote] I remember the Rocket!! The last place in the local area where you could get a light and bitter and 5 Woodbines for a half crown. The only music around then was a very out of tune Danny Boy by the crossing at about 11.30. Good days.

[quote name='Woodinblack' timestamp='1430091110' post='2757945'] The guys in the band cant tell the difference, the people in the audience sure as hell won't notice. [/quote] If you stopped playing in the middle of a number everyone in the room should wonder what just happened. If they don't you're doing something wrong. People in the audience know when the band's sounding good and the band is sounding good because you are, so don't think your sh*t goes unnoticed. Get the best sound you can. And use it a lot. Like Jack Bruce told Clapton; I'm here to make you sound good.

Have a listen to Doug Rauch, the forgotten genius of slap bass. Not so much a solo, more like some other instruments added to a bass line. Here's one: https://www.youtube.com/watch?v=o8lERdhuqPc

One bass, one sound. I developed a sound I liked a long time ago and I'm still using it. Must be doing something right because I have never been asked to change or sound like someone else.

Alex, I think you already have the building blocks for a Behemoth 412 rig if you double up either 2 Super Twins or 2 Big Twin 2's. All you need is to create a box that contains your crossover and sit it between the amp and one of the cabs, and if using 2 BT2's turn off one of the compression drivers. All the player needs is a 2 ohm amp, an amp with 2 power amps or 2 daisy chained 4 ohm amps.

Here's one. . . . https://www.youtube.com/watch?v=pSU5NoqnK1E

For some of the best of Roscoe listen to the 4 or 5 Robben Ford and the Blue Line CD's. IMO required listening for serious bass players. Last I saw Roscoe Beck was MD to Leonard Cohen. There are several YouTube vids of Roscoe Beck playing at NAMM shows. Usually with with Greg Koch. I like the line up with Malford Milligan on vocals.

I'll be playing Billie Jean tonight, and it will go down a storm. The notes are unimportant. You're focus should be to make that song sit on a groove for 6-7 mins without wandering, flagging or sagging. There are other songs where you can play "interesting" and "significant" bass lines but that's not your job in this song.

I'm not sure what your employment status is. I've played at lots of festivals here and I've never been employed, in the legal sense, by the organiser. Being hired to play is not the same thing. Do you have a visa that allows you to work or are you on a tourist visa? Insurance companies might not cover you if you're not legal.

No, it's fine as it is. Also if you split the sales ads up by price what do you do when the price is reduced and that drops the gear into a different section?

I don't hate any numbers. The numbers I like best are the ones that audiences like and, secondly, that the band plays well. I shuddered when they decided to put Tainted Love in the cover band set, until I saw the audience reaction from nearly every gig. I understand that guys doing this for a hobby can view things differently but there really are no bad songs out there.

China Girl, Under Pressure, All The Young Dudes and Heroes are in our repertoire. They all go down really well. Very sensibly, Bowie wasn't locked into being a tribute band of his early self so I'd go for the later arrangements and Gail Ann Dorsey's take on his numbers. She left MM basses behind a long time ago and uses MTD basses these days.

[quote name='peteb' timestamp='1429887672' post='2756049'] I know his old bass player, Baz Pethers, [/quote] Barry's now running a pub in rural Hampshire.

http://paulrobinsondrummeronline.com/ I've played with Paul is a Blues Rock band but he's comfortable playing from that to The Lion King through Nina Simone and Trevor Horn.

IMO there's no point in trying to fill out the sound. It won't work anyway. You'll just sound muddled. You are guitar, bass and drums now so you should sound like that, and not try to sound like your old band. Enjoy the spaces. As long as you can keep the groove no one will notice there are 2 guitars missing. . . . . IMO you had 2 too many in the first place!

EA did a vertical 310. But not for long. I guess it didn't sell? I have very little interest in big, and modular is the only way forward for me. I'd like a 210 with a 110 that would sit on the top, but I think Alex might explain that 2 Compacts already have that covered. How about a Retro 110 to sit on a Retro 210? I'm not sure concentrating on loud and low is the only way to go. A big low end just has to be EQ'ed out in many of the gigs I do, so mid and low mid focused cabs are where my interest would be. If I want to go louder I'll add another cab. How about a Retro 212 and a Retro 112 to sit on top?