Grimalkin

I'd rather think of myself as a musician that happens to play bass than a bassist. I listen to it all, melodies, drum parts, chord progressions and whatever else. Denoting yourself as a bassist sort of boxes you in IMO, people assume that you only listen to basscentric stuff. Drummers the same, I've worked with technicians and I've worked with musicians.. The musicians are looking at the whole picture. Not just concentrating on their bits...

No possibility of edging him out guess? I know the feeling, it sucks the joy out of it, for all concerned. Lumpen.

Can they programme? 1.32 - 2.42:

Nigel Tufnel : Look... still has the old tag on, never even played it. Marty DiBergi : [points his finger] You've never played...? Nigel Tufnel : Don't touch it! Marty DiBergi : We'll I wasn't going to touch it, I was just pointing at it. Nigel Tufnel : Well... don't point! It can't be played. Marty DiBergi : Don't point, okay. Can I look at it? Nigel Tufnel : No. no. That's it, you've seen enough of that one.

It's an interesting question, there has been plenty of mutual respect between myself and most of the accomplished drummers I've worked with in the past, but I've never thought to ask what they look for in a bass player, timing obviously has got to be there. As for the rest I wouldn't know. I suppose if it grooves then it's working.

Drummers are just happy to have someone to have a bevvy with.

It is well known though rarely spoken that drummers have an undying admiration for Toucans. Indeed, even the most introverted and chronically shy drummer will open right up, if gently coaxed into discourse of Toucans.

If it's a choice between a drummer who plays forward of the beat, or a drummer that drags, I'd take the forward every time. Dragging is a groove killer.

There was once a haven from the wickedness of the world, Wetherspoon's Monday Club. Sadly no more. I mind of seeing the members of said club appearing now and again, squinting into the midday sun like freshly unearthed moles. "And malt does more than Milton can To justify God's ways to man. Ale, man, ale's the stuff to drink For fellows whom it hurts to think: Look into the pewter pot To see the world as the world's not." A.E. Housman - A Shropshire Lad.

“The Savage nodded, frowning. "You got rid of them. Yes, that's just like you. Getting rid of everything unpleasant instead of learning to put up with it. Whether 'tis better in the mind to suffer the slings and arrows or outrageous fortune, or to take arms against a sea of troubles and by opposing end them...But you don't do either. Neither suffer nor oppose. You just abolish the slings and arrows. It's too easy." Aldous Huxley - Brave New World.

Intensity is the right word, whatever volume you are playing at the reference has to be defined. Especially if you're looking to make people move. I'm not a fan of drummers that are too light, too rinky-dink bingo interval sort of feeling.

You should have given him a mic and told him to mimic them... The splashes and crashes, and some sound effects.

Having the right presence for what they are playing, I've depped with a couple of drummers in the past that were too light. Very uninspiring. Not driving when they should have been.

Don't laugh, a man is in pain here. The least you can do is join us in a rousing chorus of Kumbaya.

How much neck relief has the bass got? I fret the first fret on the E string (F) then put my elbow on the string at the last fret, and visualise and feel by pressing at the 9th fret, to gauge what the relief is. By eye alone is tricky, so it's useful to feel the gap too.

It's nowhere near rocket science...

You must be new here...

I set them all up myself as soon as they have arrived basically.

I like having a bridge pickup in a fretless. I would just do it.

Must have a knowledge of Toucans.