leftybassman392

Me too please. Can you PM me when you're done Daz please. Ta.

[quote name='EdwardHimself' timestamp='1329409239' post='1542076'] This. I must say this does sound worryingly like one of these "everything was better back in [i]my day[/i]" type of threads... [/quote] Not from me. I answered the question in the terms in which it was asked. As it happens I'm always open to new music (which, come to think of it, was pretty much a requirement of the job as a guitar teacher - it was by no means uncommon for me to have students walk through the door clutching a CD by someone I'd never heard of). Just because I wouldn't listen to it for my own pleasure doesn't mean I didn't like it. I'd hope any musician who wants to be taken seriously as such would have a similar viewpoint.

Paul Gilbert?

If you wouldn't mind a bit of advice from an old lag at this bass teaching malarky: 1. Keep it [i]really [/i]simple (commonest mistake in the business is to set expectations too high - she'll take the cue from you remember). Don't forget to show her how to pluck the strings and fret the notes properly (sounds obvious when you say it, but you'd be surprised...). 2. Taking 2 basses is a good idea. If she's got an instrument in her hand from the word go, she's more likely to get involved. 3. The instrument is most likely to be too big for her (as Discreet has already said). If it is, make sure she knows that smaller instruments are easily available. 4. If there's a song or riff she likes that's very easy or can be made very easy (remember point 1), by all means give it a go. If she asks for something that common sense tells you she won't manage just yet, offer a compromise that gets her playing something she knows. If you can't find common musical ground (she's 13 remember), go with something you know will work, so even if she doesn't know it or doesn't like it much, she'll at least be able to play it. 5. Try to make it fun - if she's enjoying what she's doing she's more likely to practise (and hence improve). There's plenty of practising teachers on BC, so don't be afraid to ask. I've retired from teaching now and have time on my hands so feel free to PM me with questions.

Not good! Really, REALLY not good!

In case it hasn't already been said, your bass will never sound as good at low volume as it does at 'normal' volume (whatever that means to you). *Dull Science Advisory* It's to do with something called the Equal Loudness Contour. Without getting boring, your hearing is not as sensitive to lows and highs when the sound is quiet. At one time HiFi systems often used to have something called a 'loudness' button, which kicked in a circuit that progressively boosted bass and treble as you turned the volume down. Here's a link if you really want to know more: [url="http://en.wikipedia.org/wiki/Equal-loudness_contour"]http://en.wikipedia.org/wiki/Equal-loudness_contour[/url] The good news is that when you use close-fitting headphones, most of the problems hearing bass frequencies disappear (which is almost certainly why they're so popular among the BC membership for home practice - although the fact that you avoid annoying the neighbours probably has something to do with it as well! ).

+1 to the eBay link. I used to use a different company (or maybe it was the same guy trading under a different name). I've never been able to look at battery prices in shops quite the same way since.

Excuse me for asking, but is it me or are folks taking this all a bit seriously? I mean, I'm of an age where The Beatles were slap bang in the middle of my teens. If I was going to spout off about musical history and the lack of appreciation demonstrated by today's yoof, this should be something that really gets my, er, dander up. (FWIW I never let my students forget about the giants whose shoulders their heroes were standing on.) But it doesn't. I think Skank captured it best (as usual) by reminding us that life goes on, and none of us has a right to immortality - especially if we don't make the effort to see the other point of view.

[quote name='musophilr' timestamp='1329242681' post='1539495'] I don't recall Les Zeppelin, Deep Purple, Black Sabbath, Yes, Camel, Focus et al making "pedestrian" music, although there was a fair bit of it in the pop charts. Rock'n'Roll started growing up in the mid-late 1960s - by the mid 70s it reached a height of maturity which punk then managed to destroy and has not been regained since, except in niche markets such as jazz/rock fusion and some of the seriously technical metal. [/quote] Who tf is Les Zeppelin lol

[quote name='Machines' timestamp='1329205794' post='1538603'] Despite my non-weirdo playing style - I may frequent this bash. If so you've got a lift . I will however bring some non cack-handed instruments so I don't feel totally freaked out. [/quote] What? Another non-lefty? I sense a conspiracy!

Almost forgot..... I'll be driving down from Sutton Coldfield myself - happy to take a detour out towards Derby/Leicester/Northampton.

Actually we were going to invite him to the Lefty Bass Bash, but decided in the end that we didn't want any washed up hasbeens at our do. My missus is going to man the door just in case he tries to gatecrash. She'll recognise the f***er allright!

[quote name='skankdelvar' timestamp='1329162126' post='1538223'] Vegetarians are quiet, forgiving people. [/quote] Step over this here wall an say tha... if ya think yer man enuff

Now for sale. Check the Big Lefty Market thread

I stopped playing the Blues a couple of years ago but am still gaining weight. I don't get it.

Thanks for the correction. I can picture the station exit but haven't been there for years and took an educated guess knowing somebody would correct me if it was wrong. I kind of remember the view - Euston station at the far end of TCR I seem to remember....?

Not my style of music I have to say, but boy could she sing! A sad loss to the music world but, as has been said already, not overly surprising.

As a bass player you really owe it to yourself to get over to The Gallery in Camden if you can. You can get there by tube to Camden Town and 5 minutes' walk up the Camden Road. If that's too far there's an overland rail station called Camden Central (I think), and the shop is only a couple of hundred yards from there. Denmark Street is almost across the road from the nearest tube station (Charing Cross if I remember correctly) - not the place it used to be I'm told but still worth a visit because of it's history. Also, it's round the corner from Oxford Street - probably the most famous shopping street in the country. Can't speak to any of London's more recent attractions as I've never seen them. Hope that helps. Have a great day!

[quote name='wriggers' timestamp='1328866954' post='1533825'] Hi Discreet and Leftybassman Yes, Dobro/National steel sort of sound. I know that many of his customers are from the traditional country blues/slide players stable so they've probably met Santa at the crossroads already [/quote] Do you happen to know whether Michael Messer is one of his customers? Having met him a number of times at Blues Summer Schools I'd imagine he'd be quite keen to at least give it a try.

I had an old Roscoe LG 3000 fretless conversion for a couple of years. Loved it to bits but no longer using it so it went to a good cause (someone who will). As luck would have it I was in Bassdirect a couple of weeks ago, and spent some time with one of the new LG's. Boy was I tempted! Mate of mine was there with me and had a run out with a Century 5, and was raving about it all the way home. They've always been very classy instruments, but the current crop are just out of this world!

[quote name='The Admiral' timestamp='1328985949' post='1535766'] Can I suggest a couple of books which might give you answers to this and other questions you may have - I found them invaluable - Well worth £9.26 of your hard earned at Amazon - 'Live sound for the performing musician' by Paul White of SOS Magazine, and in english that anyone can understand: This is a good one too - Yamaha sponsored 'Sound Reinforcement Handbook' by Gary Davis and Ralph Jones - more techy than the Paul White book, but explains some important stuff really well I think. £13.00 at Amazon. A [/quote] Not read the Davis/Jones title, but +1 on Paul White

Most ordinary mortals still use mono for FOH, so any pan pots you may have on the subgroups and direct channels are effectively redundant for the purpose of L/R panning FOH. Reason? If you mix in stereo in anything but an enormous venue most people will hear a less than perfect sound balance because they're nearer one speaker than the other - extreme example: pan the lead guitarist hard left... anybody near the right speaker won't hear him (which some would argue is a good thing, but that's another thread ). The best use of groups has already been covered - Drums 1 group; Vox 1 group - possibly 2 depending on precise circumstances; everybody else direct (unless of course you're lucky enough to have a horn section of more than one). Channel pan pots work slightly differently when routing to subgroups, as they tend to be used to send the channel to one or other of the subgroup pair by panning hard left or right as appropriate. Any stereo channels strips you may have will balance the incoming signal (often from a keyboard) via the two faders before sending it on. Pan pots on such channels - especially when sending direct - should be used with great care. Unless you REALLY need that stereo chorus to go FOH, probably best not to use them at all. Got a bit longwinded in the end - sorry about that but if you're planning to use pan pots on that type of live desk it's important you know what they're doing at any given point in the signal chain otherwise you'll get yourself into a heap of trouble very quickly.