Pete Academy

In the 80s, Stoke had a massive amount of venues, including pubs and workingmen's clubs. In fact, a covers band could work professionally just in our area. The amount of venues has now depleted massively. In response to Bilbo's OP, yes, a covers band can pull people in. I remember me and a lot of my friends going to see a quality covers band in these venues. However, when karaoke and discos started to creep in, the amount of venues dropped considerably. Live music, regardless of whether it's original or not, is always going to be preferable.

[quote name='bassicinstinct' post='1186105' date='Apr 2 2011, 07:42 PM']Down and dirty!! Love it. Opened on iTunes on my Mac[/quote] Thanks Neil. The electric bass should be more prominent, but I'm expecting another mix. A good bit of fun.

This is a track I recorded at my mates' studio - riff I've had knocking about for a few years. Some may recognise the sampled intro as Bootsy explaining 'the one' on Rockschool in the 80s. I should hopefully be posting a more electric-bass-heavy version quite soon. I think the download defaults to spotify, but it should be able to open in other medias. [url="https://www.yousendit.com/dl?phi_action=app/orchestrateDownload&rurl=https%253A%252F%252Fwww.yousendit.com%252Ftransfer.php%253Faction%253Dbatch_download%2526send_id%253D1085204605%2526email%253D975a4df2739c29ffc306519c6532559a"]https://www.yousendit.com/dl?phi_action=app...306519c6532559a[/url]

[quote name='robocorpse' post='1184934' date='Apr 1 2011, 04:02 PM']Looks like I annoyed some people here. OK, I (personally) never really got on with the concept of "a song" as opposed to a performance, a good example being "Brown Sugar", which I have never ever heard a really good cover of, or any kind of backslapping cabaret exercise. I don't care HOW good the original is, if its played badly or without any conviction or with half the band SIGHT READING it, then I am likely to go home. I have a major problem with a stage full of 40-50 somethings with brand new boutique equipment wailing away aimlessly, adding 25 extra solos to "Mustang Sally" and playing everything in dead military 4/4 with no feel or swing while they disguise their paunch with something "the wife" picked up for them from Burtons, over their brand new loose fit 501s. It just smacks of desperation, although thats where the money is unfortunately, so originals bands get strangled in favour of another mind-numbing "The Fred Starwrangler Blues Experience plays Clapton" at the Dog and Duck. The only really REALLY good covers band I have ever seen and went back again and again to was Paddy Goes To Holyhead. They actually nailed most of the stuff with good accuracy and proper presentation and stagecraft. They are a rare thing. Tribute acts are another thing entirely, but I have to say both Dressed To Kill (Ceteras band) and "The Musical Box" (Canadian Genesis tribute) were BETTER than the bands they are copying. They put the work in and it paid off in bucketloads. I'd rather see DTK in a pub than Kiss at the Enormo-dome.[/quote] I agree that there are cover bands out there that fit your description. Quite a few years back I used to go and watch a local 3-piece that were unbelievably bad. But with a few beers in them, the audience thought it was great. In contrast, we have a local band called The Barflys, including our singer and our lead guitarist (plays bass in that band), and members of the Climax Blues Band, featuring guitarist Lester Hunt, who is arguably one of the finest players in the country. No frills, just amazing playing and feel, and a blues-rock set that doesn't feature the usual dross.

[quote name='Doddy' post='1184632' date='Apr 1 2011, 12:56 PM']...and all original bands are ace,right? Yes there are sh*t covers bands,bit there are also top drawer ones. Mind you,I suppose it depends on your definition of sh*t.[/quote] Something considered disgusting, of poor quality, foolish, or otherwise totally unacceptable.

[quote name='robocorpse' post='1184551' date='Apr 1 2011, 12:19 PM']Pay to play is bollox, but can sometimes be indulged if its a really good slot you are getting for an originals band. Pay to play for [b]cover bands[/b] is DOUBLE bollox, as everyone knows cover bands always attract a half decent crowd and make people dance and sing along when they have had a few, this keeps the beer flowing and the landlord happy. Face it, most venues are booking almost exclusively cover bands nowadays as they know its an instant crowd and[b] even if the band is sh*t (which most cover bands are in some way or another) they can still get away with it.[/b][/quote] That's quite a sweeping statement.

[quote name='TheRev' post='1184454' date='Apr 1 2011, 11:23 AM']There are a couple of really good cover bands round these here parts and I would make an effort to go and see them - but I wouldn't pay to see them. One of my bands has a small regular following, but again, we don't charge on the door.[/quote] There seems to be a reluctance for people to pay to see cover bands. I remember one of the regular pub venues in Stoke charging two quid after he had always let people in for free, and there was much moaning from the visitors, many of whom walked away in disgust. Personally, I think you should be expected to pay in most cases. All the hard work rehearsing, not to mention buying expensive gear, deserves to be recognised, and a couple of quid wouldn't go amiss.

Seen the TC rep today. The new RH750 is due soon.

This is Ashdown's serious entry into the digital amp and portable cab market. The Superflys were one of the first digital amps on the market ( I used one for five years), but these new new ones boast a Bang and Olufsen-designed power section. The pre-amp is the tried and tested Ashdown one. It looks to be a winner all round.

I received these basses - Aspiration Deluxe and Contemporary J's - last week. Already sold the Aspiration Deluxe (out-performed everything in the shop at that price point). Sublime build quality and setup. The soapbars sound just like Bartolinis - lovely highs, but not harsh; great low end, thanks to the active bass boost. These basses have been a long time coming, but all credit to Tanglewood and Chris May - they are absolutely superb. Unbelievable value for money.

[quote name='Doddy' post='1181352' date='Mar 29 2011, 08:31 PM']I'm not that confusing am I? Or is it the distracting beauty of Elizabeth Huett?[/quote] Ah, that's who it is!

[quote name='Doddy' post='1181325' date='Mar 29 2011, 08:23 PM']Basically yeah. If I'm playing octaves between the E and D strings,I fret the E with my index finger and the D with my little finger,while my ring finger mutes the A string and my index finger near the knuckle mutes the G. If I'm playing between the A and G strings,my ring finger mutes the D and my middle finger mutes the E.[/quote] Er, yeah...totally agree, Paul.

The slap style is a combination of hitting the string with your thumb and muting with the left hand (or right hand, depending on which slap style you're learning). It's a bugger to master and takes a lot of patience. A teacher would be the best bet. Keep at it.

[quote name='Duarte' post='1180353' date='Mar 29 2011, 01:48 AM'] That is all![/quote] Superb! Get it in Funk and Groove!

[quote name='JTUK' post='1180440' date='Mar 29 2011, 09:05 AM']hmmm... this was ok when it came out and as an instructional video he puts things across well but I think this approach or style is very dated now. If you can see through this and use the basics and then find another influence that would be the way to go IMV. You need blocks and stepping stones. Slap has many styles within the style now... IMV...for starters and very generally Flea is all fast octaves, for example. MK is LH pat triplets Louis J is all thumb hammer-ons MM has probably consolidated most things and brought it all together And there are loads of others who put their spin on it and sound AND feel great. You should be looking at more than one guy and if you want to play slap, Flea isn't the only place you should you should rip from, IMO. If you want to see who is out there doing what... google 'youtube dkmarlow' and go with as many examples of OTHER slap players online and see which sound/style grabs you. To look at just one guy is pretty limiting and more so if that guy is Flea. here we go again [/quote] I think you might be right, John. Check out that 80s hairdo. How time flies.

I'm absolutely in love with the J Basses. Awesome neck and great sound. Unbeatable for the price.

[quote name='daz' post='1179836' date='Mar 28 2011, 06:25 PM']I can just make out the name on the amps at the back. [b]Engl.[/b] never heard of them are they any good ? No come to think of it i have heard of them i just know n othing about them. they apparently go well with Marshals acording to [url="http://www.performing-musician.com/pm/may08/articles/guitartech.htm"]this pic[/url][/quote] Engl amps are amazing.

[quote name='Doddy' post='1178824' date='Mar 27 2011, 09:37 PM']It's alright.[/quote] Wow, you suddenly look very desirable, Paul.

I've simply avoided them all through my playing years. I'm not sure why, but I just don't use them unless it's a bottom E. Weird.

[quote name='Doddy' post='1178801' date='Mar 27 2011, 09:26 PM']The Slap Bass Program by Alexis Sklarevski.[/quote] Cheers, mate.

Slap bass DVD by Alex somebody. It's difficult to master. Lessons would be advisable. Don't rush, start with octaves and take it from there.

I avoid open strings like the plague.

[quote name='gub' post='1176666' date='Mar 25 2011, 10:42 PM']i am with rayman on this one,muscle memory is great and then when you start to think obout things too hard at all goes to sh*t rit ![/quote] Exactly.