jonny-lad

I have the MRS-1608, which is the earlier model, and I use it for all my recording. I think it's great and much better than any computer set-up I could afford.

What's this idea that if you burn bits of a bass it'll look aged and worn over time?

1. I don't have an endorsement deal but I know a couple of people who do. 2. From what I understand, it normally involves getting free, or more often, discount priced gear from the manufacturer - this could be a percentage discount or something else like trade prices. 3. They might look after you well for repairs and maintenence so you are sure to be seen using their gear, but I'm only guessing. I suppose every deal would be different. 4. Not sure. 5. I think the main benefit is that you get the opportunity to work with a company who provide you with free or discount gear to suit your needs. I don't think it would get you loads more gigs or recognition unless you became well known for using that gear and were appearing in adverts and so forth. It works both ways - it benefits you in that you get the gear, and it benefits the company because you are seen using their products.

[quote name='peteb' post='484252' date='May 10 2009, 12:13 PM']Re. the elitist charges – some of the jazz supporters here do tend to be rather elitist but in real life most of the jazz musicians that I’ve met are anything but and seem to appreciate all types of music and playing on its own terms……[/quote] +1 Also, I've found that IME, it tends to be the lesser able and certainly narrower minded jazz players that hold the elitist attitude the most - I think having a good all round appreciation of a wide range of music shows in someone's playing.

[quote name='BigRedX' post='482190' date='May 7 2009, 05:17 PM']The weird thing about the relic look is that it seems to apply only to 'modern' electric stringed musical instruments. I can't think of any other case where "worn" is an acceptable look for something old and collectable. Certainly if you turned up to a classic car rally in something that had the same amount of wear as the average pre-1980 Fender you'd be a complete laughing stock. Maybe it is because these instruments are still relatively young, in terms of human history and this is just a passing phase the market is going through. Personally I prefer modern designs but if I did come across an old worn instrument that turned out to be "the one" for me, I have no qualms about having it visually brought back to an 'as new' condition.[/quote] There is the 'rat look' in some scenes, like volkswagen campers, where the bodywork is original, rusty, much like an unrestored camper, but the chassis, engine and so forth are restored, or modified...very much a love it or hate it look though!

[quote name='BassMunkee' post='482024' date='May 7 2009, 02:31 PM']LOL. Yeah I know it's easier said than done. I couldn't live with the idea that I had something that wasn't what it looked like...[/quote] I could probably live quite happily with it, as long as it was a great bass anyway (regardless of the relicing)...I'd still have GAS for a real vintage bass though and that's what I'd be aiming for eventually!! I'd never own a relic and pretend it was the real thing though - if it were a good bass that I enjoyed playing and that sounded good, there would be no reason for me to pretend that it was anything else...I suppose it could be argued that the relicing is pretending it's something else though!

[quote name='BassMunkee' post='481922' date='May 7 2009, 01:20 PM']I agree that it's a personal thing and that, as far as it goes, is all fine and dandy. BUT personally I think it's cheating and a cop-out. [b]If you want one so badly, save up and buy one[/b]. It's like: I have a Civic Type-R, which is lots of fun. There are people on forums with Civic Sports that they have done up to be "Type-Rs". If you want one badly enough to spend the money making something look like it, save up the the money to buy the real thing. To my mind Reliced instruments are the designer ripped jeans of the music world.[/quote] It's worth bearing in mind that it's a compromise - a reliced instrument is never the same as a real vintage. Saving up and buying the real thing is easier said than done...that's before you get onto problems of sourcing exactly the type of instrument you want, confirming it's originality and so on. Of course, the best way to get that type of instrument is to buy it new and gig it hard for the next 30 years...I can't currently afford a vintage instrument, or a relic, so I'll take this approach instead!

[quote name='Earbrass' post='481938' date='May 7 2009, 01:28 PM']I just don't buy into the idea that music only matters if it's making money for someone, or has a wide appeal or a cool image. To me those are completely irrelevant to what makes good music.[/quote] IMO, it doesn't only matter if it's making money, has a wide appeal or cool image. They are irrelevant to what makes good music, but they are relevant to what makes music popular. That's why I think it's so important to find things yourself, lesser known music, underground sub-genres and so forth.

[quote name='BassMunkee' post='481911' date='May 7 2009, 01:13 PM']Oh God - now I'm agreeing with him again... [/quote] So am I! I don't think people realise how off-putting the elitist image is. A year or two ago, all I wanted to play was jazz, but now, I'm not bothered either way...I don't care to play with musicians who think they're above me - I think it kills a good band, which IMO is several musicians working together as a team to create something good...not some lesser musicians accompanying some elite musicians.

I think jazz lacks the image that anyone can pick up an instrument and learn to play that style of music, whereas with other genres like rock or punk, it's really accessible in that way. I don't think that's a bad thing - for years I felt that it was above my abilities, which made me spend some serious time learning about it because I wanted to better myself and learn more. However, I was playing in a rock band well under a year after I first picked up an instrument. I wouldn't have been able to do that with jazz.

Bit daft this - I thought the thread was about jazz?

I would have thought the appeal came from the fact that it's an accessible way to owning a 'vintage style' instrument. Far easier and more affordable to buy a reliced bass than it is to buy a real vintage instrument. Of course, it's not the same, but an acceptable compromise for many people. I don't think it's necessarily about fashion (although for some it may be), but more about coming close to owning something that would otherwise be out of reach.

[quote name='BigBeefChief' post='481768' date='May 7 2009, 11:34 AM']Regardless on my personal tastes, [b]I don't think Jazz does itself any favours from an image perspective[/b]. I know music shouldn't be about image, but it mostly is! To an outsider looking in, not only is the music pretty inpenetratable, but [b]the image of the elitist jazz musician/listener puts people off[/b]. You read it on here all the time. Jazz fans say "I find Popular music doesn't satisfy me anymore". Maybe it doesn't, and there's nothing wrong with that view, but on a web forum it does sound slightly pompous! I think that part of the appeal of Jazz to some is the feeling that its an exclusive club. If it were to start charting, these fans would move on to another genre. However, this can probably be said for any non-mainstream genre of music. Personally, my views on the music are well documented. As a rule, I tend to stay away from music that is mostly popular with other musos. It does nothing for me.[/quote] Jazz is of great interest to me and, having been brought up on the likes of thin lizzy and iron maiden, it took alot of time and effort to learn about it and find it...I think, at least for myself, part of the problem is the elitist image. So many times I've found myself at a jazz gig, feeling like a complete outsider, even after frequenting them for several years and becoming a competant musician in the style. It doesn't take long to put people off coming to the same gigs, with the same click of musicians and audience members...I've been playing less and less jazz, going to fewer jazz gigs and instead, playing other styles, meeting different people and playing more and enjoying it more! I know that not all jazz is an elitist type of music, but in my experience, the average jazz club is. Popular music isn't elitist - anyone can listen to and be involved in it, and that's why it does well, regardless of how good it is.

[quote name='phatbass787' post='480398' date='May 5 2009, 09:20 PM']always wondered how much the gimmick factor helps them and if they were the size of a regular Ampeg/Ashdown they would still be so popular. . .[/quote] What's the gimmick factor?...the size? IMO, a high powered, lightweight, portable solution for a travelling bassist, with plenty of satisfied users, doesn't strike me as a gimmick...maybe if it was rubbish, or it had some completely pointless features. I guess I am biased though, as I am really pleased with my Little Mark II! The tonal differences seem to divide opinions the most - some people don't get on with Mark Bass at all, some don't get on with Ashdown.

+1 for the MU cover, even though it only covers you as an individual. I've got this and I'm covered for whatever band I play in...I try to encourage everyone in bands I'm a part of to join the MU just for the free liability insurance and free instrument insurance - some people are reluctant because of the cost of being in the MU, but if a band needs insurance, it'll have to be paid for in one way or another.

I think the important thing is experience, regardless of whether you do a degree or not to get a job in music - that's where you learn how to run a business and work in the industry. The best courses are the ones that encourage this...unfortunately, there aren't many that are focussed towards working in music, as far as I know. I had the chance to go to uni, but saw an opportunity to play and went for that instead - I've learnt more about being a working musician than anyone I know who has done a degree in music. Of course, they've learnt things that I haven't, but I've learnt to run my own business and I've got experience that I could never have got from a course...I'm still learning too! The main reason, however, that I would consider a degree, is to teach. It seems like a really good way to gain credibility as a teacher, and it's especially useful for things like peripatetic teaching in schools.

[quote name='bumfrog' post='475892' date='Apr 30 2009, 12:20 PM']sorry, gotta disagree with that. If you are good player you are good player. If you spend ages messing about with amps then you also know about electronic sound. Doesn't mean you're a better player, just means you know how to use equipment. Conversely I have met sound men who can't play for toffee, but can get a good sound. What about acoustic stuff? Does that mean because somebody isn't using an amp then all of a sudden they become a worse player? Sorry if I sound a big facetious, I'm having one of them days [/quote] I think having good tone, in a live mix, is just as important as being a good player. IMO, it's what makes a good musician, as it's just as important to sound right in the mix as it is to play your parts effectively, put on a performance and so on. I think that there's a difference between someone who is a very technically proficient player and someone who is a good working musician with a view of the bigger picture ie. how the band sounds and how they fit in, instead of just how the individual sounds.

Ey-up dude! Still lurking on basschat?! I might have to take you up on a couple of lessons for myself! I really recommend Scott if anyone needs lessons in west yorkshire...I've gigged with him a bit (Me on guitar...sorry! ) and I'm always learning loads from him!! Jonny.

I had trouble with microphonic feedback with an epiphone les paul. I asked at a guitar shop and they said that it wasn't that uncommon and I could get my pickups wax dipped to reduce it. As far as I know, most modern pickups get wax dipped anyway, as this kind of feedback is caused by the pickup itself vibrating instead of high volume causing the strings of the guitar or bass to vibrate, but it's quite straight forward to get them done again if they need it. I think with a search on google you'd find lots of onfo on how to do it yourself or you could probably find someone with experience to do it quite cheap and avoid any hassle doing it yourself. I couldn't really think of a reason for why it became a rpoblem for both guitar and bass on the same night, especially if you've never had it before. Mine came on gradually over several weeks or months, unless you were playing louder than usual. Distortions and overdrives tend to make it loads worse and I also noticed it was much more likely when I used a wah, so maybe there was some EQing that effected it. Good luck sorting it out!

[quote name='Adrenochrome' post='470847' date='Apr 23 2009, 03:35 PM']Great! Playing everywhere from the North-East to the South-West. Have you got a regular gig at the moment? Jon[/quote] Sounds good - I'll try get to a gig at some point! Got a few gigs on the go at the moment - I play guitar with a swing singer in an 8-piece band...not too many gigs there at the moment though, and I do a couple of other occasional gigs with function bands aswell. I'm also playing bass in a covers band that's covering loads of different stuff like pop, rock, soul, motown. That's becoming a good regular gig and it should keep getting better as the functions start coming in. Everyone is sorted in that band aswell so everyone has an equal input and we all get on well because of it...much better than just one person calling the shots and telling everyone what to do! I get a bit of a challenge with it too, as I've got lots of backing vocals to do and I'm the one who tends to be in control of the sound!

[quote name='Adrenochrome' post='463097' date='Apr 15 2009, 03:50 PM']Jonny, did you play with a female guitarist/singer with a Scottish surname last year? If so, we've shared a stage a couple of times.[/quote] Yep - that was me! Sorry for the massive delay in replying...I haven't seen this thread on the view new posts page for ages! How's it going?

[quote name='GreeneKing' post='461192' date='Apr 13 2009, 01:23 PM']Unfortunately CK the band is made up of 3 'friends' who all live in the same area and I came in as an outsider via an ad on Mad Monks board. Their original bassist had already left to join another band (surprise). However much his commitment must be questioned he is probably at least half of the band in terms of organisational, social, practice venue and equipment issues. I've emailed all the band and said we need to be clear about what we're doing and where we're going and mentioned the commitment thing. Sadly I've never gigged and I thought it was going to happen so I suppose I'm particularly disappointed and angry. On the plus side my ability and confidence have shot up over the past 6 months. I just think he wants to play at being a 'rock star' but doesn't have the necessary balls to get up there and actually do it. I've not given up yet (not quite) but the signs aren't good. I don't want to lose my momentum and I just want to get up there and perform. Lap dancing anyone?[/quote] If there's not much going on because of the guitarist, you could keep your foot in the door whilst looking for alternatives or post some ads on sites like partysounds - you might find something that's really suitable, but you could still put the time into this band if you don't find a suitable alternative for a while and some gigs do come in. There's always the inevitable rubbish to trawl through when looking for a band that suits you - the trick is to keep going, whenever something isn't going well, keep an eye out for something better...you might find it, or you might not, but you can always be on the look-out and be ready for it when it does come.

The mark bass combos are great for a portable amp...I don't use one but I play guitar (sorry!!) in a band where the bassist uses one and it always sounds great IMO. A head and cabinet may be a good idea to go for on a budget - I use a mark bass Little Mark II, which I bought with a warwick 4x10 (which is the size I needed at the time), but I can always pair the Little Mark II with a much smaller cabinet without having to upgrade everything. Of course, it depends on your situation and what is easiest to compromise on - portability or budget. I also spent ages looking for a decent portable combo on a budget and ended up with a Roland DB-500 for under £200, but it's not anywhere near as light as a mark bass combo...the newer Roland D-bass amps are lots lighter than the DB-500 though, but still not as small or light as a mark bass combo. I saw them quite cheap last year when I was looking, but they seem to have gone up since then.

[quote name='s_u_y_*' post='452478' date='Apr 2 2009, 02:56 PM']I've had enough of band politics, and now prefer projects where there is an effective "bandleader". Some may call it a Dictatorship. I call it working without any bullcrap. I usually only do this where I respect the bandleader as a creative force. Do I get annoyed that sometimes if my ideas and suggestions aren't taken up. Yes. But at least things get done, gigs are booked and ultimately I enjoy myself more.[/quote] That's a great situation to be in - definately works for me aswell! As long as people know the score and they're happy with it, it works really well. I also find that when I'm playing in someone else's band, not only does it take a lot of pressure off me (to organise rehearsals, book gigs etc.), I also feel more motivated to run my own projects on the side and I find that I'm more productive when I'm busy gigging (for a bandleader or for myself), than when I'm not.

I try to find out what people want from a band when I first get involved - If they all want different things, they'll need to compromise, and if they can't, I'll walk away...I still give things a chance, but I think it's important to look after what you want yourself. I think it's good to keep your options open, play in a couple of bands, or if that's too much, have one main commitment and occasional jams with other musicians, then if anything goes wrong, you haven't lost everything - you can keep playing and keep motivated. I suppose it's quite easy for me to say that, as I'm in several bands, but out of those, only one is ever really busy at any one time. They all know my situation, and they accept it. If they didn't, I'd have to accept that I couldn't play in that particular band, but I've got other options that I can focus on. I hate the politics thing, and I've spent a few years developing a way to deal with it that works for me...I think it will always be a problem, even in a good band, I think it's how you deal with it that really makes the difference. Hope this helps.