chris_b

[quote name='hiram.k.hackenbacker' timestamp='1418899134' post='2634545'] ....I would absolutely want to rehearse, but then again, I enjoy playing.... [/quote] So do I, but rehearsing a night of 12 bars isn't playing.

There are still guys putting out quality recordings, Keb Mo, Jon Cleary, for example. And anything produced by John Porter will be a top quality recording.

[quote name='BetaFunk' timestamp='1418859944' post='2634303'] This is FUNK........... [/quote] Sigh.... [u]this[/u] is Funk. [media]http://www.youtube.com/watch?v=hwJH6SepXCQ[/media] and this [media]http://www.youtube.com/watch?v=2Jb86Kbxmqw[/media] and the original version [media]http://www.youtube.com/watch?v=oDrBIRz2ImU[/media] There's so much more.....

..... and a rehearsal!!! I'd want double the money for doing the gig twice. I was asked to dep in a blues band in the Summer at a festival. I've known the singer for 20 years. They sent me a CD, all very simple 12 bars, then they came back with, "You've got to rehearse". What? For a bunch of 12 bars? I declined their offer and they got someone else. Their loss. Apparently the rhythm section didn't gel, even after a rehearsal, and the gig didn't go well. Oh dear!

Drop outs? You didn't try the [i]running around the garden [/i]routine did you?

This is where music stands come into their own.

There's no such thing as an untwistable guitar lead. Leads do last longer if you store them properly but if your problem is caused by your stage act (I'm jealous you've got so much energy!!), as already pointed out, your only solution is a wireless system.

One of the guys here did that several years ago. I recall he got the Zoot/Iceni/Purple-Chili guys, in Essex, to make a bass to the shape he specified.

What bass for Funk? A Stingray was good enough for Louis Johnson and Bernard Edwards, Rocco Prestia and Chuck Rainy played P type bass for a long time, Larry Graham and Bootsy used Jazz basses, Lakland have been used by the likes of Rodney Skeet Curtis and I think it was a BC Rich that Jerry Preston used when he was with Maceo Parker. Funk isn't a look, a bass or even a sound. I think you can get whatever bass you want and if you can play funk you'll be fine.

I couldn't dance to it. They keep changing the beat every 10 seconds!

One page about stands and eight pages of "no, it isn't" and "yes, it is". Just the usual.

[quote name='Twincam' timestamp='1418727184' post='2632656'] ....I can't play gentle with high action something just makes me want to play full on.... [/quote] Controlling that has to come from you. You can play gently with a high action but you can't play hard with a low action, as you've found out. IMO, you have to change your style first and the bass can follow. If you really want the action low right now I'd suggest you just have to work through the "sounding bad" stage and it will come.

You don't need a low action to refine your playing. Low action is just another style of playing and as a technique is neither better or worse than any other style. The main thing about playing a low action is you have to have a lot of control. You probably need to develop that control first, then you can start dropping the strings. If you can't stop getting carried away or over excited when you play take the action back up. It won't stop you refining your technique and many very good players have used high action.

Most guitarists I play with use Fender combos and many of the older guys still have their Twins at home. Fortunately they don't often bring them out. Both guitarists in my cover band use 45w Fender Super Reverb 410 combos and both are too loud. Not quite Twin Reverb loud but IMO too loud for what we are doing. On the other hand they don't get told to turn down very often, so what do I know!!

Music stands for the brass and Sex On Fire! All good in my opinion. Great band.

Give it another 20 years and you'll be fine.

The whole concept of music stands saying anything about a musicians professionalism or ability says much more about the failings of the audience than the musicians. I saw 2 bands in pubs this weekend. One, a very good cover band, with a stand for the vocalist and the other was a stand using Laurence Cottle doing his amazing stuff. Anyone walking out on those two gigs would have been musically shooting themselves in the foot.

The players in this band are very talented and have a mountain of musical ability. What a bass player. I wish I could play as well as he obviously did when he was 5. Not my kind of music but I have nothing negative to say about them. It's my kind of band.

I get that Twin Reverbs sound great play loudly. I was playing with a cranked Twin guitarist last Wednesday. Even through my ear-plugs, he sounded very good. But it was his band to I played at his level. If a musician in a band can't get his "sound" without being too loud for the band then he's either using the wrong amp or the wrong mind-set or both. What did the rest of the band think? I'd tell him what the problem is and that it's his problem to fix.

As you've got the 15 you could add a 210. That [i]could[/i] work, I played through a Mesa Boogie 115 and 210 rig for years and it was fine. But, always be prepared for the mix not to work. Then you could sell the 15 and get another 210. On the other hand I'd recommend you sell the 15 right now and get a 212 cab. IMO, they are the best "does it all" pub gig cab out there.

You could play very quietly. I play through my amp and cab at TV and radio volume. Or you could get this amp and a headphone amp, or spend the money on an amp that better suits your criteria and playing situation.

I totally understand why someone would want to buy an AC or Fodera. That's a no brainer to me. What I can't understand is why anyone would want to pay millions to live in Kensington or Camden when they could have a whole estate 10 miles outside the M25 for the same money. Then again, why does anyone play more than £20K for a car? The bow for a concert grade double bass would set you back more than the cost of an AC so we should be thankful these basses are as cheap as they are.

Thumb is same advice as for the pick. You'll have to mute with your left hand fingers.

Hit the E then the 2 D notes on the A string and after each D your RH plucking finger should come to rest on the E string, thus muting it. Unless you use a pick, I don't see how you have a problem with that. With a pick you'll have to let a non fretting LH finger slightly overlap and mute the E string.

I've had a set on a jazz bass since the summer. I don't play it much but they still sound nice and bright and feel pretty good to play. I'd recommend them.