Franticsmurf

Glad it went well. I had a hernia repair at the beginning of the year and once the initial 'ow, ow, ow' was over I thought I could get back to at least rehearsing (sitting down). But no, it was too early. Listen to your doctor and only start back when he gives you the ok. The risk of further damage and an extended (or even worse, permanent) break from playing is not worth it. I was fortunate - my bandmates took the opportunity to have a break as well, and when I was getting to the point of returning, I had visits from them just for short jams and updates to break me back in gently.

Yes, I'm the same. I bought my first expensive/proper/decent bass (a brand new Sterling HH) a couple of years ago, having made do with cheap 2nd hand basses until then. There was nothing wrong with them, but the Sterling was the only one that made me want to be a better bassist. I felt I had to justify the purchase and I think I have. I feel I've improved as a bass player more in the last two years than in the time before. It may be co-incidence, but I still get a thrill when I pick up the Sterling and on the days when I don't want to practice, that thrill is a great motivator.

+1 for the Plethora X3 - I've just added it to my board and while there's tweaking to be done, I love the sounds I'm getting after only a few days. It does have a cab sim built in to the global settings (i.e. doesn't take up a pedal slot) but you can switch that off.

Deluxe model.

It was limited in the number of parts - the bumper and the exhaust fell off and the rear axle was threatening to join them. 🤣

Something will trigger the passion - it might be nailing a bass part from a favourite song, 'getting' a difficult bass lesson, finding a decent sound. Probably a combination of more than one thing. The confidence will come through playing and jamming with other like minded people. So all you have to do is pick up a bass and start playing. You'll probably surprise yourself with how much you remember from previous playing experience. Personally, I find myself most passionate and motivated when I'm practising and rehearsing for a gig. Usually at the end of the rehearsal where everything is clearly coming together.

I think I had the same model. 😃

Yes, definitely. A combination of two things. Maturity, which brought discipline and the confidence to know what I like and don't like and reject anything that I wasn't enjoying. Retirement which gave me time to do the things I want indirectly led to me being in a band that plays a wide range of songs. The latter meant I had to learn new genres and become more of an all round player.

With the caveat that you shouldn't put you or yours in difficulty as a result, buy the bass that will encourage you to play and perhaps motivate you to get better. If it sits on it's stand and whispers seductively 'play me some more', then it's a good investment. 😃

I recently invested in a Plethora X3 to give me a multi FX option and to save a little space on the board. I've had it for about three days, rehearsed with it last night and I'm very happy with the sounds and this version of the board. I'm using the X3 for compression along with combinations of chorus, phase, flange and some octave. I've also been experimenting with the doubling effect and the looper (the latter I find the easiest to get right of of all the loopers I've tried). The signal chain is tuner>X3>Mooer (for clean boost)>Bass Overdrive>MS60B (currently giving me a couple of spot EQ effects for specific songs but likely to provide some bass synth in the future)>Crybot filter>Digbeth. The whole lot is powered by a Harley Benton power unit and fits in a 15"x10" metal flight case. The board itself is an old home made one and is angled to allow for the power unit to fit underneath. I've just started rehearsing with a three piece and I needed to be able to fill the gaps when the guitarist goes solo and come out again when he goes back to rhythm. The Octave and doubler are just enough without being OTT. And the guitarist is quite good at not leaving too much space during his solos anyway. I have yet to get to grips with the cab simulator on the X3 - I tried the 1x15" last night but it was too much so I'm playing around with the 2x12" and 4x12" combinations.

I like to think of the original as the starting point. As has been said above, if someone wants to hear the original version, note perfect, the studio recording is the place to go. Even the bands I like play their own songs differently live to their original studio versions. If there are essential elements that make the song special, then consideration should be made to play those parts correctly but for the most part I think there is merit in bringing something new to the cover version. If that version is rubbish, punters will vote with their feet. If it adds something to the song, then to me that's what playing live music is all about. The caveat is, of course, tribute acts. If the tribute band is about bringing the original to the audience, then there is a requirement to play it as the original band played it. I've played in tribute bands and haven't enjoyed the restrictions it places on me, although I understand and accept them. But by far the most enjoyable for me is playing in a band where there is a certain amount of freedom to develop a character or style in which the band plays it's set.

When we played it in A I'd head straight for the dusty end and use the 12th fret harmonic. Now the band I'm in do it in G so I'm on the 'D' string, fifth fret. And I tend to play single notes with the bass drum during the verses, because it's our version and that's what we like. 😃

60th birthday bash for our percussionist in the Hulla band last night. We played in a marquee of a sports club to around 100 people and had a great night. I was struggling with bursitis in my right knee so the guys brought a high stool for me. I went through FOH as is usual with this line up but had a small cab and TCE BAM200 for the drummer and used my in ears. Ironically, I'd just got a wireless system for the bass to allow me to move around, and I was stuck at the back for the whole gig. 😃

Just started learning Rio and while I wouldn't say I've got the bass part nailed, it's getting there and its a good one.

I used to sleep grounded, but then I began to develop a hum, so I lifted myself off the ground. It worked, too 😀

When I played bass in a duo, years ago, I got so bored with the set that I used to try and get Hawkwind baselines in there. In particular, the 'Angels of Death' riff works nicely with the instrumental bit of You Really Got Me and the 'Hey hey hey hey' bit of Treat Her Right. 🙂

Not the official bass line, but the one I'm playing on our take of Sheryl Crow's version of Sweet Child of Mine makes me smile. I much prefer her version to the original. I'm combining the bass part with elements of the guitar melody and links I've made up myself into a busy bass part that works with our arrangement. I even get to play the bass melody from the start of the GnR version.

I was 25, it was 1989 in a well known pub venue and as I recall I was obsessed with getting my guitar tuned correctly and spent far too long with the tuner. Only to have the sound guy (who introduced us) knock the headstock and tuners just as the drummer was counting in the first number. 😃

As I suspected. Ah well, it was good while it lasted. 🙂

I'd be grateful for a ruling. I've recently bought a HB Stomp Control unit, which allows for the connection and selection of up to four effects loops in any combination. Yes, it goes in the signal chain but it doesn't actually affect the signal itself other than routing it. Am I in or out? 🙂🙁🙂🙁

Confirmed Yes fan. I found that when Jon and Chris were no longer in the band, the thing that made it 'Yes', disappeared. Before that, when Rick was out, it wasn't the same but for me Yes was always the distinctive bass (lines and sound) and the distinctive vocal. Listening to the new song/video, I find it a bit bland. Very, very competent but not interesting or exciting. It's difficult to compare it with the second video above of Jon and the Band Geeks as they are doing a cover version of a well known Yes song, but of the two Close to the Edge was the track I played in its entirety while the other one went off after about 5 minutes. To me, the current Yes is a completely different band and not one I would have listened to much as the music doesn't interest me.

In addition to the advice above, I've found that we've picked up some gigs through contacts on the night. So some nice business cards (IMO looks better than fliers) with a logo and contact details, including any online content, allows you to make the contact. In the past, we've played a pub or small club and picked up a function or wedding from it.

Not a gig as such, but the first rehearsal of a new three piece, 'The Rip', last night. I've played with the drummer and guitarist/singer individually, but never in this line up. All competent musicians but great to have something that works from the start and for everyone to be on the same wavelength. It was formed to play a one-off gig at a festival but we all agreed last night that there's more life in the project. 😃

I've just signed up to singing lead on several songs for a one off gig in June. They're simple songs, but never having been a lead vocalist (I've sung the odd song now and again but not on a regular basis) I wonder what I've let myself in for! Rehearsals start next week so we'll see. I struggle with this as well when singing BVs. I find singing along to the original track at home helps - I can warble in and out of unison until it sound ok without anyone else having to suffer. 😃

I have an MS60b on the board for special effects (by which I mean combinations of filter/modulation/compression) that are song specific. I use a B1Four as a silent rehearsal tool and I occasionally use a Boss ME80 (at one point several years ago it was my main effects unit).