Paul S

Understand the term, understand yourself. Google it, Tim. Then reflect back and see if you recognise anything in your history of posting that might possibly fit.

This coming Sunday we are supporting Susan Santos at the John Peel Centre in Stowmarket.

Interesting comment. You must rank as one of the most narcissistic people I have ever encountered - do you understand why?

Looking increasingly unlikely I'll be able to make this one, after all Sounds like I'll miss a treat, too.

Pretty crass thing to say. He wasn't talking about 'your' mum, it was a figurative term of speech. A lot of people on this forum aren't going to have mums for various reasons yet you have to try to weaponise it. For a man with a history of low scoring posts I do believe you have set the bar even lower. Well done.

Facebook link of some vid from last Saturday's gig at Blues at Barleylands, Billericay - a Jeff Healey tune 'See The Light' https://fb.watch/nWlFa4jPa_/

At 66 I've reached the point where I am the best bass player that I can be - aspiration for improvement becomes inexorably balanced against increasing decrepitude. Does that make me a good bass player? Not really, I don't have the chops or theory. But am I good enough for what I do? I believe so. I might not do much but what I do is OK.

This. Most bridges, even cheap eBay jobs, have the relevant measurements on the listing. But a Gotoh 201, for example, will be as good a bridge as you could ever want and costs £35 from Thomann.

Tomorrow night, The Shamrock in Ipswich, my lot continue our monthly residency.

I aim to get it mostly in pan.

It doesn't have to be complicated if you don't want it to be. Take lessons and learn music theory if you fancy it but don't put yourself under any pressure or feel any obligation if you don't. Doing so might just put you off. And a lot depends upon what your musical aspirations are - if you are looking at earning a living as a pro touring bass player sight reading and technique will almost be a necessity. But playing Dad rock with mates down the Eel and Gherkin not so much. I played guitar as a yoof, stopped playing anything for 20-odd years then in my 40s took up bass. I'm now 66. I applied the same principles to bass as I did guitar - after all, it is a stringed instrument with the same notes etc - and just listened and copied. I play both guitar and bass with a pick, with a little finger style for good measure, and that made the transition easy once you get your head around the bigger strings spaced apart. I don't know much theory, I've never had a lesson. I am sure my playing would be better if I had made the effort with both but I somehow never got around to it. After a while you pick a lot of stuff up - I can't tell you why certain runs work but can hear when they are right or wrong. Once you've copied and pasted your way through a lot of music you can recycle those bits and put them together for yourself. My own mantra is to play for the song, not for the hard-on. My night is complete if people walk away thinking 'what a great band' and not 'what a great bassist'. This has worked for me, anyway, and the sort of music scene I am involved in - in spite of my lack of formal input I am fortunate enough to have been in bands with some extremely good musicians during the last 20 years.

Saturday afternoon's adventure. My blues rock trio Toredown played a little blues club in Billericay called 'Blues at Barleylands'. They rent a social club every Saturday afternoon and put on blues acts - sometimes pro-acts that are on tour. We'd not played there before so didn't quite know what to expect - the deal is you get door money after they take out expenses but apparently guaranteed to get £300. The place itself is what you'd expect a small social club in the sticks to be like, a little bit jaded. Lots of tables and seating, large bar. Easy load in from the dedicated car park via the fire door. Slightly raised corner stage, lots of power points behind black sheets. Covered pool table for us to stash our cases. We arriveds early, set up and sound checked before most of the people turned. Who then kept on turning up, I reckon there were around 60 people when we kicked off - not capacity but busy for a small place. Well, what a reaction! To say we got a rapturous response would be an understatement. I know the band are good but the genre is rather love it or hate it. In the past we've played pubs and gone down like a lead balloon. We have our monthly residency at a music pub and that is brilliant but still get the occasional idiot distracting us. This lot, being a dedicated blues club, totally loved it. Huge cheers after every song (after most guitar solos, too), at the end people wouldn't let us get on with packing up, kept coming up to us wanting to chat. Even with me! Such a diffrent vibe from playing in a pub. No drunk tw@t shouting for Wonderwall. No drunks, in fact. At the end we were handed an envelope containing £500 - a much bigger payday than usual - and we sold some CDs, too. Absolutely fantastic. Post gig some lovely comments on their Fb page. They immediately booked us again for next year, too, promising a packed crowd as word gets around. I used my recently acquired Gibson SG - my go-to now - straight into the desk via a TC Spectradrive. Sounded good, really sits in the mix. Obligatory pic. Looks like I am doing a mic swallowing act.

I recently bought a Squier Vista Series Musicmaster bass in a deal on here. Actually, more of a steal as the seller wsn't asking much! I've had them before and am very pleased to have one again. Punchy little fella, going to satisfy my Fender flavoured short scale GAS - I was considering buying a JMJ Mustang to see what the fuss is about but, actually, don't think I need to now.

This afternoon, Blues At Barleylands, 2pm start. Local gig for me, which makes a change. No A12 involved!! Here's a snip from their Fb page.

Yes, aren't they good! To me they sound almost exactly like the Fender Custom Shop '62 model.

No, the 3 point bridge. The 2 piece bridge is the Vintage Pro which I think they call the 60s model now.

That one is staying! It's all those long ones that are off. I can see you with a Thunderbird Classic Pro in white, though....

It is crazy. I have some stuff for sale that I am almost giving away, with more in the pipeline that needs to go. Its hardly worth putting it up for sale at the moment.

I did but took it off. I like a laugh every now and then And, in truth, I find many of your insights and experiences to be interesting and valuable. I have no problems with individuality at all but you seem to feel a need to ram this down everyone's throats at every given opportunity - as soon as there is talk of anything mainstream you'll wade in with yet another disaparaging post. I'm sure all the regulars on this site get it by now, you think outside the box, so there is no need to keep on about it, really - for me it dilutes the quality of your contributions on here. But then again I am a grumpy old curmudgeon so who gives a toss what I think.

I love 'em. I have TI Flats on all my basses. More zing than most and I love the low tension.

Fixed.

I've been going to see Level 42 for nearly 40 years, every time they tour (every other year trhese days) Mrs S and I see at least one show. We are going to see them twice this time around. I've probably seen them perform more than any other band, and I'd say they are better now than ever apart from maybe the early jazz funk years. I'd admit MK and Lindup's voices aren't what they were but the band are amazing. Nathan's BVs help to bolster the falsetto these days. Pete Ray Biggin is a tour de force on the drums, simply astonishing, and the horns totally add value to the show. They generally have a great lighting set up, too. The days when MK stood at the front of the stage showboating slap are long gone but, in any case, it is his fingerstyle playing that I find far more impressive. I've been going to see live music for over 50 years during which time I've seen the great, the good, the bad and the ugly, and I reckon MK to be the most accomplished all round bassist I have ever seen. And that is without taking into account he is the main singer and composer. His complex bass lines weave through the songs in a thoughtful and musical way - it isn't just 'Love Games' thumping on the open E. My main thought, when I hear the MK detractors, is that they actually haven't actually taken the time to listen to the band but merely trot out the same old 'one trick pony' and 'bucket of nails falling down the stairs' cliche based on an interview they saw back in the noughties (or whatever). Their last new material, the EP Sirens, had fewer slap bass lines than finger style and even pick on one. It is entirely possible to recognise and appreciate talent even in the context of music you don't like but I guess that takes effort and an open mind - rare commodities these days.