scalpy

Kudos man, a credit to bass players!

Andertons seem to be doing a good job of raising the G&L profile over this side of the pond. Loving my LB100 at the moment with chromes, the Fullerton looks much more attractive than a similar spec fender in my view.

Really simple for me, I’m very faddy and will go on binges of my latest favourite thing- which has ranged from Stravinsky to snarky puppy, then I always come back to Beatles/ Stones/ Stax and muscle shoals. In fairness it’s always a journey and I’ve strayed way beyond blues based music and the century, but it’s always nice to come home.

We had a nice line up going for a while with one band, but the guitarist had to leave for some reason so we auditioned this guy who had moved to the area and claimed to be a former London session player. Amongst his claims was playing on Kung Fu fighting, singing bvs on Rocket Man and being in a band who’s name I’ll cunningly disguise- Lightening Applause Oldman. He turned every song into an exercise in proving how hard he could groove because, you know, he had studied rhythm in Africa. The only gear he was interested in ‘was the gear he smoked’. I can’t remember why it started but we had huge argument that ended in him calling me a nazi. I later found out he’d moved to the area and alienated everyone who had even a sniff of musical success, including trying to charge a decent local studio for having him record there. I’ll stop there before the really litgeous stuff but he was the embodiment of nightmare band member.

From an unashamedly evangelical G&L fanboi- welcome to the club.

The sound of a p bass with flats is part of the vocab for ‘modern’ music, same as a strat does disco, a Ludwig snare does rock or an 808 does rap. Got booked for a last minute session this morning, took 3 basses, ASAT with roundwounds for the Swiss Army knife type thing, a 5 string active jazz but as soon as the client described themselves as acoustic pop the lb100 with chrome flats came out and inside 2 notes they loved it. The other 2 didn’t even leave the case. They also asked for zero funk, which wasn’t a problem either for different reasons!

Guilty as charged, I do this in one song in our set because I feel like a total fraud pretending I’m using two hands at all. Dancing in the Street by the way. In my defence I try and wind the guitarist as much as possible whilst doing it.

Sound guy at rehearsal? How posh are you! Plus I’m very jealous you have one of these, excuse the envy.

Hide this thread from the guy selling his on here...

My secondhand Sire V7 is cheap, shiny and bright orange so the singers in the band have named it Shazza.

Tommy Cogbill on that one.

The exception to this might be folk nights. My wife walked into a hotel bar in Barmouth between Christmas and New Years a few while back. We were only after food but the owner pointed out we had prime seats- didn't have a clue what he was on about. An hour later, the place is rammed and the band were immense, jaw-droppingly good and the crowd loved it.

Annual fundraiser for the Courtyard Theatre in Hereford.

Couldn’t say- I’ve had my first, one and only strap since 1988.

As somebody once said about Mick Jaggar’s singing- it doesn’t have to be correct it just has to be right. Whilst the above track is out, something not even close to right is the outro to Layla- banshee slide at its coke powered worst.

She mistook you for the singer/guitarist right?!?!

We have two colour schemes, blues and black/ gold. The ladies have to max out on glitz and us gents try and make sure there’s some texture and pattern. The band looks like a cohesive team with a bit of imagination and we don’t get lost in the crowd. But and I wear a hat but there’s a whole other thread....

Watched it over breakfast. It was nice to see Tina credit the bassists interviewed with the amount a good bassline contributes to a song and how it wasn’t/ isn’t reflected financially. I was also pleased that it didn’t get bogged down in slap or indeed heavy rock. But it lacked the spark of the drumming episode as we seemed to get a diet version of the interviews. Bootsy didn’t play anything (although I understand he’s retired), Jack Stratton instead of Joe Dart got a piece and Carol Kaye’s done that piece to camera many many times before. The only bit that really got me was Herbie.

Played a do for a fire station once in Worcester. They wanted 10 minutes of music, then 10 minutes off, and repeat, for the whole evening. Can’t remember it being a belter of a gig.

Totally agree with the 30 sec beat transformation. Great see Ringo getting his props as well. The thing that struck me with the interviewees was the snares- vicious. Can't get my drummer to do that, he doesn't think it's tasteful!

Just put Chromes on my LB100. Sounds like a V8 piano, very happy.

To modify another well known joke- How do you know if someone's a jazz fan? They'll tell you.

Picked up mine just after Christmas and used it NYE (a tad ambitious for my first foray into 5 string as it turns out!) But I've been experimenting with the tip Marcus Miller gives on the Chicago Music Exchange Video where you just leave the mid frequency selector in place then just boost the mids fractionally to bring out finger style. Works a treat, it's almost like he knows what he's doing.

Thank you Dave.

Watched it last night. The rock tones I’ve got used to from being on here and picking up on isolated tracks. Jamerson- well, he’s the guy so have heard loads of isolated stuff. The one that got me was I Want You Back, which previously I would have held up as an example of the warmest of warm P bass sounds- by itself, hideous! Still top playing though.