chris_b

I played a CS Pino Precision once. It was an exceptionally nice bass to play. Custom made basses aren't for me. I wouldn't know what options to order and by the time the bass turned up I would have probably changed my mind.

Ry Cooder's soundtrack for Paris, Texas was pretty special. Anything John Williams wrote. Alabama 3's Sopranos theme song. Jesse Winchester's Step By Step from the Wire. . . and Down In the Hole, Walk On Gilded Splinters etc.

Stand By Me is a 1 verse listen, so is Werewolves of London and A Girl Like You. There is a long list of busk-able hit songs. Agree or disagree. . . . ffs why is this thread getting so aggressive and pedantic. Some songs you can busk some you can't. Depends on the song and the bass player. . . . move on!!!

I'd suggest that the number of bassists requiring this level of flexibility or this number of choices is very small. If you need to emulate the sound of a dozen different amps then I guess these pieces of kit are for you. I don't and I don't see any of the bassists regularly playing gigs around town, most of whom don't even use pedals, wanting that either. As always YMMV

He should tell them and offer to step aside. Have a band vote and if the outcome is to find another drummer then that's what you do.

Hey, it's a good Country song. I love the sound of the original recording. There's also a great version on Daryl's House.

I have a dismal record at auditions. I failed most of them. . . . . . . except the one in 1985 that kicked off a run of phone calls that is still working to this day. It is getting harder to be at the right place at the right time, but word of mouth is the only thing that's worked for me. On Thursday I've got the first gig with a friend of a band that I hooked up with (after a phone call) just after lockdown #3. He saw us a couple of months ago and me and the drummer got a call. I am crap at networking but it's the only way to ensure you're dealing with good players.

How do you define rehearse? Both Carol Kaye and Chuck Rainey said you got 3 takes on film score sessions. The first time was the run through, the second time was the take. The third time was the last chance before you were marked down not to be called next time.

Like casting the right actor for the part, there is a whole industry for selecting and placing the right piece of music into films.

We all have preferences, but the first thing any serious musician should do is ditch the blinkers.

The one thing I hate is the drum sound that was used on so many recordings in the 80's. There was some fantastic music ruined by over compressed and processed drums, like everything by Tina Turner, Robert Palmer etc etc.

Everything in a culture evolves. If it doesn't something is seriously wrong.

Disliking someone else's choice of song doesn't go away in an original band. What does Jared Followill think when he sees Sex On Fire in the set, again!!! Compromises are part of playing an instrument with other musicians. Embrace differences, be positive, it's the only way to stay sane as a musician.

I'd suggest Aguilar amps, TH500 and AG700. They really work well with BF cabs.

Looks like the amp has a minimum of 4 ohms. So you'll need an 8 ohm 410 to be able to pair it with the 210 and that amp. That means both cabs will be getting the same amount of power, so keep within the power ratings of the 210 and you'll be OK. That's kinda wasting some of the potential of the 410, and a lot of it's potential if it was a 4 ohm cab. I'm not impressed by powerful amps that don't go to 2.67 ohms. Maybe a good move would be to buy a 4 ohm 410 and you'll get 4 rigs out of 3 cabs, ie 112, 210, 410, 210 + 112.

It should pretty easy to know if your band is a good fit for a WMC gig. It's usually top 40 covers from the 60's to the 90's. If they can sing along and dance, you'll go down well. You're in their world, it's not their fault if you're not a good fit for the gig.

I like playing bass because I can play in a band, with musicians, to audiences. IMO giving a good performance is the most important part of a gig. Fortunately most of my gigs are playing songs I like. There are some I don't like, but that's not a problem. If the audience likes them then it's a good job done. My tastes and preferences are for a different place.

Thunderfunk. No customer service because Dave Funk just retired, but these amps were designed to be repairable "in the field" if they ever went wrong.

Hutch Hutchinson with Bonnie Raitt, Delbert McClinton and Keb Mo. Reggie McBride and Stan Sargeant with Keb Mo.

I'm playing with Robin this Saturday and I expect he'll be jumping on the tables and walking through the audience several times during the evening.

I've gigged in many bands for Monica since the 80's. She's been running these great weekends for over 20 years. We all love her. Take your bass and join in Robin Bibi's jam nights.

Noooooooooooooooooo!! The original recordings were perfect, even with all their imperfections. They don't need to be messed around like this.

Don't discount an upgrade from active to passive.

The NYXL's are brighter and last longer. They are also cheaper. I put them on my active Jazz bass. I know nothing about string tension, all strings feel the same to me, I skate over the top of them, so I buy based on the sound and life.