cdog

I'd agree with all of the above : your role in the jam session is to drive the rhythm and to help the other musicians to anticipate what's coming ( which is what a good drummer does too eg any song by the pixies). So I'd be really focussing on roots and 5ths, and leading up and down to changes with runs where appropriate. Keeping it simple and in time will be much better for the group than trying to put loads of notes in. At home I'd play along to jam tracks on YouTube where you can experiment with your runs and make your mistakes.

Cool, thanks 👍👍

No it's not smart like that, just like a drum box app. It's free though and so I try to practice with it to help my timing

Here's some recordings, but the guitarist has moved to electric now, so I'd say the folky feel has gone a bit. It's the ones marked live. Woman is the most poppy https://m.soundcloud.com/user-956758613

The SBL groove trainer has a setting that plays a drum beat that then drops out and in again which is good for internal timing, but I don't think that's quite what you're looking for.

I set my squire pj to bead last year. I really liked it as a lot of the compositions in my band are in E so I could approach the E from below and I didn't really miss the g that much .. but then I got a five string and as the band is quite funky having the g for slap is really helpful. I then went through a phase of playing a BEAD bass, a EADG bass and a fiver. My head began to explode so I did just 5 for a while. The pj has standard flats on now and I just got a Mustang which is the opposite of the massive fiver!

We have rock school UK in Leeds that mostly do 5 day schemes, pkus a gig at a fantastic venue(the wardrobe)for 8-16yr olds in school holidays . They do weekend rock school for adults occasionally too: a couple of my friends just did it, but it's one day of practice in your band then a gig the next day so it's all pretty quick.

I remembered another one, 2 octave fretboards, it's way too far from the end of the neck where my thumb is to the 1st or 2nd frets.

Painted headstocks and generally large heads, anything heavy or un balanced, and anything active only. I'd struggle to commit to a single pickup too. ... but I love a good sunburst finish.

Have to start throwing them at the audience after you finish each song! 😄

We just did some recording last week...

So this weekend I went to an event across Leeds called live at Leeds. I went to 8 venues, saw 10 bands,and to my ears every venue,bar one, well done headrow house, had everything turned up to 11 to the extent that it was pretty much impossible for me to even be in the room, despite wearing pretty good quality earplugs. (Disclaimer is that I don't cope very well with extreme volume generally due to playing too much metal and techno in my teens. ) It seemed that sound engineers turned up the bass drum so loud that I could feel my cap shaking off my head and my trousers rattling when it was struck. This then boomed round the venue's space, making it impossible to make out any bass tones because the space was already filled. Possibly in response to this, every bass player I saw was using a pick, presumably to cut through. ( I was super surprised to see noone playing fingerstyle!). I'm about to start gigging and I really don't want to deafen people, or myself, at gigs, and I also want a deeper tone rather than a jb with bridge pu and pick tone. How do people tend to work with sound engineers to reign the levels in and get the unique sound you want for your band? Our drummer uses a cahon for bass drum and those cymbals with loads of holes in so the drums don't overpower us, and I'd like our live sound to keep that balance, even with a bigger pa. Any why is everyone using picks? Thanks Chris

Bought an Ems octave pedal from Andy. Great transaction, I was a bit wary having had scammers on Facebook before so I used PayPal business and services and paid a bit more, Andy was fine about this. Pedal arrived quickly and is great, many thanks Andy

Thanks