TimR

[quote name='neepheid' timestamp='1378897153' post='2206141'] ...often in a sanctimonious, overbearing, arrogant and holier-than-thou kind of way ... I'm not saying I'm blameless either. [/quote] I wouldn't have thought it was possible to write in that manner, just speak that way and most of that is imagined by the reader. Hence arguments start very easily.

[quote name='Bilbo' timestamp='1378894551' post='2206093'] The argument over fact vs opinion is an interesting one and it is surprisingly hard to find fact when discussing music, basses, amps etc. Kind of Blue was recorded in 1959 - fact. Kind of Blue is the biggest selling Jazz lp of all time (dubious fact - define Jazz). Kind of Blue is the greatest LP of all time - opinion. [/quote] It's up to the reader to decide whether they are reading fact or opinion. There are however exceptions. Mainly when talking about theories that can't be backed by evidence or the evidence is ambiguous. Political and scientific fields are full of this. That's the difference between a discussion forum and a lecture theatre.

http://youtube.com/watch?v=140QmUnAGeI&desktop_uri=%2Fwatch%3Fv%3D140QmUnAGeI

[quote name='bigd1' timestamp='1378666374' post='2203017'] I don't see any question here, for me this is a no brainer. Music in whatever form has to be enjoyable first. I have been a musician for 35yrs and done it all for the pleasure and love of it, I don't think I could play/perform if it wasn't. Being paid is for me a very nice extra for doing something I love. Money was never the reason I become and continue to be a musician. Although Music has never been my primary income. If it was all about money, and nothing else, I'd have to have a change of career. How could you possibly put in you hart and soul into making a great performance, if the only reason you are there is collect your pay packet at the end. I am sure professional musicians never start out with money as their driving force. Definitely got to be for the LOVE and ENJOYMENT, if you get paid as I said for me it's a BONUS. [/quote] Exactly my thoughts. Chose something you love doing, do it well, find someone who appreciates what you do, get paid for it. The more you love something, the better you do it, the more people appreciate it, the more you get paid. Luckily I enjoy engineering a bit more than music. I do it better, more people need my skills and I get paid more. If push came to shove I'd get paid more as a musician than working in a warehouse, enjoy it more and be better at it.

[quote name='mike257' timestamp='1378665361' post='2202994'] I've depped for them before with no rehearsal, played a solid gig and was offered the full time spot in the band off the back of it. I'd said a firm yes to the gig. The only bit I hadn't committed too was rehearsing. They mentioned coming to a rehearsal "if you're free" which I said I'd do my best to be nearer to the date. Just thought it was poor form to agree it and then pull out, and initially with no explanation. I've done plenty of deps with minimal or no rehearsal, as I'm sure many guys on here do, so didn't think it was a big issue when I've played with the band before and its a pretty standard set of indie/rock covers all done as the original versions. Flyfisher, you're right, personal circumstances are just that - they've got no bearing on one's ability to turn up and do their job. Probably coming across as being a bigger deal than it is but just thought it wasn't the decent thing to do and was pretty ticked off. Can appreciate peoples viewpoints who don't agree, everyone works in different ways, but if I'd booked and confirmed a dep who I had worked with before I wouldn't pull the rug out because they couldn't instantly commit a rehearsal date when its debatable that one is even required. [/quote] Ok. I never try to overanalyse these things. Sometimes the reason they give you isn't the real reason, sometimes it is. They used someone else and didn't give you much notice. They may not use them again and come back to you and ask you again, they may stick with the other guy. Often it has nothing to do with your musical ability, it's just how you fit in the band verses how someone else fits.

Another case of bad communication in the age of communications. You need to say yes or no. Not "I'm not sure but I'll try." They need to say: "We'll let you know the week before but will continue looking for someone."

I have a wife and two kids. Going out practically every Saturday night to enjoy my 'hobby' wouldn't be tolerated if I didn't return with at least enough to take them to the Harvesters on Sunday night.

Usually if you miss it, just wait for a bit and you'll find another one comes just after the last beat of the current bar.

Don't get me started on triangulists. Turn up at the last minute, expect full PA support, don't play anything for 40bars and then come in at the wrong place. And still expect the same money!

[quote name='xilddx' timestamp='1378381919' post='2199378'] Wot, like this you mean? ... [/quote] Not really. You outlined the classic singer/songwriter stereotype in your earlier post.

Excellent. We play 3 originals in our cover set. More people dance to our originals. Go figure...

Yes. Stick it in the Famous Quotes thread.

If someone says they're a train spotter you shouldn't automatically assume they have an anorak and lunchbox. If someone is standing on the platform of the station wearing an anorak, and carrying a lunchbox you can be fairly sure they're a train spotter.

[quote name='neepheid' timestamp='1378379812' post='2199327'] Mostly to unfairly pigeonhole people or things without due consideration or justification it would seem. ... [/quote] That's not what I said at all. Stereotypes exist because in the main that's how people are. Nobody decided a train spotter should wear an anorak and have a sandwich box with a lunch made by his mum in it. That's just how they tend to be. People who play the bass are usually dependable sit at the back plodding out root notes and don't want to be noticed too much. I would suggest that 7/10 bass players match that description exactly. 3/10 will be up front dancing, doing backing vocals, throwing in tasty licks and solos. You shouldn't use stereotypes to define people but you can define stereotypes by people. That's exactly how they come about.

[quote name='neepheid' timestamp='1378377575' post='2199280'] ... I think that's more to do with the person I am rather than my role in the band. [/quote] That's the generally accepted stereotype. My feeling is that the type of person you are attracts you to a certain instrument. There are always exceptions of course, but the type of person you are will also dictate cover/originals band as well. Stereotypes exist for a reason.

[quote name='xilddx' timestamp='1378374812' post='2199231'] No, I have NOT been there. Try being a good front person or singer/songwriter without the attendant ego, self analysis, even self loathing, and having to write lyrics and music that are meaningful and compelling without being a person who cares about and notices a lot of sh*t that goes on. Delivering that to an audience and in a studio takes a lot more than learning some bass lines and standing at the back in your jeans and t shirt knocking them out with a beer and a smile on yer mush, being the 'glue'. As for the rest of the band, you actually just sound like you're playing with poor musicians. You know, you paint bassists in a very bad light, another way of reading what you writ is that bassists have the easiest job, and that we are all happy clappy ***** who want a larf and bang out a few tunes. Not all bassists are the glue, not all bassists just want to have a good time and get on with it. Everyone in the bands I'm in plays a significant part in the delivery of the music and takes their role very seriously, me included. It should be enjoyable but it's not a game. [/quote] Bad day? In my opinion bass players tend to have less bad days than the other guys. When discussions get heated the other guys are always more passionate about getting their feelings across and sometimes someone needs to calm things down. We're all there to make sure the music is good.

You should tell him Rhino is the only one with any balls to play it. Lol.

As a parent I would be more upset that my son kept an instrument in the back of a cupboard and never played it. Sell it for one you will play.

[quote name='Happy Jack' timestamp='1377851216' post='2192627'] It's posts like this that serve to remind me just how little I understand about electrickery. Increasingly, I give up on trying to understand WHY things sound better or worse (cos I can't, see?) and focus instead on how they sound to my ears, using nothing more sophisticated than trial & error. I really would love to know what I'm doing, but I spend enough time learning to play bass without starting Electronics 101 at the same time ... [/quote] As things become more complicated and more varied. Trial and error becomes a very long process. So you buy a long lead and your guitar sounds bad. You assume it's the new lead. What process of trial and error would then lead you to buying a buffer? You don't need to understand how the buffer works, just what it does. It stops the cable acting like a filter. It appears to act like a signal booster. Technically it is but doesn't boost the signal, just stops it from degrading.

Mine was tuned at the factory by experts. I'm not messing with it.

I'm assuming we have to break the existing or set a new world record. There's a couple of mentions at the beginning of the thread but with 40pages to wade through I'm no sure where we are at the moment. 'Only' 18 players so far?

Did Mark play it on stage and say anything or was it just a backstage thing?

Sounds good. Is Shell going with you to meet Guy? She really should, if its possible.

[quote name='Muzz' timestamp='1377721969' post='2190984'] In narrower circles, any of the Charvel/Jackson pointy-headed types are hugely 80s, as are Explorers, preferably in a glittery or stripy finish But yeah, overall I'd say Steinbergers and to a lesser extent Statii. [/quote] Oh yes. I still have my Jackson/Charvel. I picked up a second had Aria a few years back for £90. It was a monster, completly unplayable. Cleaned the gunk off the frets, adjusted the truss rod, fixed the intonation, adjusted the pickup heights, polished the body. It was a beauty, sounded and played beautifully. Bargains are out there.

Does it have gigs lined up in London? Bristol sounds very close to South Wales