diskwave

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Youve got a light one? Lucky man. Save ur pennies and get a Spitfire guard. Hands down the nearest to the early 70's originals which had a rich deep red tone.

Ive played just about every conceivable tune in trios and most times drums and bass were louder than singer and tight.. Having a strong punchy bass tone, and a top notch lead singer/musician tends to be the best bet. Dont try to be like the recording.. Keep the primary hooks then think about space. As long as your tight, in tune with a powerful singer, all will be good. Two peculiar examples. Ive played 'Forget Me Knots' and 'I Will Survive' with just guitar and drums and the floor was heaving and I seem to remember being very loud on both counts!

Nice work on the screws. Make sure to use suitably hard plugs..and yes TiteB is the biz. If done well you could coat them in a thick poly then carefully blend the edges into the surrounding mire. Art and furniture restorers do it all the time. No one would ever know what had been done. Out of interest.. whats the weight?

Just wondering if there's any room here for a considered, learned alternative view? There's no doubting their enormous original talent ,superb writing and musicianship but Ive always found Pearts drum work akin to nails on a blackboard. In essence Ive never warmed to them even tho I grew up with them and my best friend back then was/is still probably the greatest Lifeson impersonator on YT. In fact I think he was the first guitarist to launch a Rush playalong channel so to speak. But anyway, Pearts drumming.? I just cannot warm to it.

Had one one in similiar condition. Looks earlier than 74... bridge is (correctly) in the wrong place as installed by the factory with worn out jigs. They came from Fender with a very long G screw to compensate. Anyway, what a piece. Great patina. Clean it up a bit, refret, get it working and play the heck out of it... If its a good one then it'll be real nice. Mine had a weighty tone to it that Ive never found in a modern P bass.

P bass, dead flats, Ampeg, and a light touch a hair behind the PU and 40 yrs experience. Punchy dry mids for days. Covers evrything cept slap heavy stuff which I dont tend to play anymore.

Yep the ole expensive boom and wool out front, hear it time and time again. Easier for the desk to add bass than to remove the boom that many peeps think is ok. Our instrument should really be called the 'Low Mid Range Guitar'.

I thght BT's were something duos did. And as for paying 100's of pounds to see a "top" show completely mimed? No thanks, Its the looseness and rawness that maketh the fun. The issue with ToTP was time and volume. It was impossible to prep evry single performance to perfection hence the miming. And just to ruin ur day OGWT was 90% mimed also. They managed to create a vibe that made it seem very...alive.

The words.." Now with home recording anyone can get a professional result" leaves me feeling dead inside. Its that very process which has killed just about everything. Doing it at 'at home' and then publishing means you are not accountable to anyone.... no one is gonna tell you the truth. Unlike back in the day where in the main you had schooled producers who underestood the need for melody and musicality.. the two ingredients which make great music. Ive actually been on the receiving end of that as a young sprog. "Sorry lads its lacking, it doesnt go anywhere....It ain't strong enough for us. Thanks for coming in, best of luck.

Never hard of this new restriction thing but a good trio with a good lead singer and backing vox is hard to beat, tho it all hinges on the singer being a good all rounder. I can remember two or three outfits from long ago who had this setup and they were great fun to go see. Good fun to play in too... loads of space.

Yep including reality TV. Everyone today is told they are great and can do no wrong so opportunity has no restraint and thats why so much of todays 'creative output' is pants. Back in the day if you were naff you were told so...like wise if you were good or great you rose to the top and became something of worth and note (no pun intended) As for bands today, what does that even mean anymore. Of the few 'guitar' bands Ive seen recently.. wildly strumming your axe with little melodic shape or content does not make for good music.

Its a fair enough topic, but keep it a secret? No way. I tend to sit and just 'listen' more to classical than pop but when I want to have a couple hours of satisfying bass playing then its just about anything from the pop charts of the 70's. Bee Gees, ABBA, Carpenters, Philly Soul, I'll even have an hr of two step.. Glen Campbell, Ray Stevens etc etc....As a bass player for me the 70's thru up a heck of a lot of great melodic bass playing and music.

Haha.. or getting our old Bedford jammed on the corner of Tottenham Court Road and Oxford Street cause the roadie misjudged the location? Great memories and huge fun and frolics. Guess its just all so different today....Is it as much fun tho?

As we did all those yrs ago, buy an old coach, fix it up and get on the road, or am I living in the past with extremely rose tinted glasses. Probably.

Good example of the... "One".

Goodness me TF are flippin good. No backing tapes or synchin, straight up live playing with super arrangements.

Probably something from Bad Companys Straight Shooter album. My poor mother sticking her head around the bedroom door..... "are you playing for much longer, it all sounds rather thumpy."! Cheers mum.

Have to say Ive never heard of anyone using tab in an orchestra. Notation is the norm which allows you to switch keys on the fly. And as has already been mentioned... brass and wind love playing in the flats.. not so much standard C hence why you will have to transpose your tabs, tho I dont understand tab so maybe thats not actually possible.

Spent a couple of hrs getting YT to throw up as many versions of Autumn Leaves as I could find. I like sussing out how different musicians approach the same tune....Had a little play too, always fun.

As with most here Ive owned a ton of P's over the years, vintage, Jap, Squire, Fender, Mex. Picked up one of those CV70's P's recently, terrific bass, 70's nut but with a fat profile ...very comfortable and very cheap too. Its as good or better as anything Ive had before.

Havent listened to Joni for about ten years and Ive never seen this clip. Jaco's ok here just laying it down, as usual the right note in the right place at the right time... always Jaco but nothing too crazy. She wanted him in the band and he delivers. Metheny too.... superb musician.

I would imagine Ian King is easily a "Top London Session player". He can read anything, play anything, has all the gear and appears to be a nice bloke which is doubly important. You want to look at a TLSP...There he is right there.

This in spades, 100%. The guy in the store that does setups and then hands ur axe back scratched and worse than when it went in is not a luthier. Even the guys that make boutique basses from raw materials are not luthiers but kinda wood engineers. Stringed instrument Luthiers have studied at a special college for the making of stringed instruments and it takes years. Point of note. I can easily setup a bass.. cut a new nut etc....But trying to relocate and tune the sound post in my el cheapo Cello took three weeks of fiddling...trimming and positioning and Im still not sure its dead right.... The skills needed to be a proper Luthier are akin to being a brain surgeon.

As above, its no use fighting it and trying to manicly fill every gap....Let the spaces ring out and you'll find the presentation will actually sound more full and satisfying. Check out Robin Trower the master of space and air.