scalpy

They live in Pershore in Worcestershire, right in the centre of the town.

I’m delighted- bought mine ages ago for less than the price of one new db112, makes me feel like a right rich (more money than sense) git.

I saw them at Colston Hall in 2007. Orlando was really knocking on by that point, he had to be helped onto stage, someone held his bass as the other draped him over it, where he proceeded to play beautifully for two hours. My wife and I then went back to the hotel and had the night ruined by a drunken Irish stag do throwing plant pots down the corridors all night. When we went down to breakfast they were all being arrested and I tucked into the free coffee. We had finished eating when my wife said to me ‘I think we’re sharing breakfast with some special people’ Thinking she was referring to the drunken idiots I looked up to see the Buena Vista guys queuing up for a full English. Amped up on no sleep and four coffees I promptly charged over to Orlando and they all instantly crowded round him, but seeing that I only wanted to shake his hand they all relaxed. It was a bizarre way to meet a hero, but every time I hear that hear his playing wondering just how on Earth he did it I’m grateful to a bunch of yobbos who spent the night shouting they were the IRA.

A studio drummer I know says if the click- “Ah, the fifth member of the band no one likes and can’t play in time.”

I trained as a trumpet player, and have my own theories about why so many brass players end up playing bass (not cash or spelling errors) Eventually it was the realisation the bass player is completely in charge that put paid to the trumpet for me. Laying down a bassline means you’re in control of the dynamic, the excitement level, the harmony- it’s blinking ace.

A ‘this is my rig’ post but I run my LMT500 through Aggie DB112S. I either use an ASAT with rounds and the rig is very clear, responsive to settings etc or a LB100 with flats for the vintage thing, which again is hard to beat. Not the lightest or smallest of rigs but hasn’t been too big or not loud enough yet!

Had to be a viola player didn’t it?

Paying me taxes but not claiming back compressor expenses!

I just about qualify for semi-pro. The day job is classroom music teacher- but I’m adamant that career is the craft of education first subject specialism second. I do ok as a reading bassist round here, the function band does 20 or so gigs a year and I pick up the occasional session or two a year. Of course semi pro can mean lucky to get paid as well!

Do the thing with the lead where it goes underneath a foot of the head or a handle. I once lent my rig to the support band, who played away merrily until the very last note, where he stood on the lead, snapped the input jack and left me rigless, 150 Miles from home. Pre PA support for that type of gig as well.

A few years back we were playing without our male singer and my wife was covering all the vocals. We were dragging out a few easy numbers to fill out the set, and were playing ‘I Just Wanna Make Love To You.’ Cue drunk bloke taking to the empty dance floor (disaster of a beer festival) and trying to do ‘sexy’ dancing. His girlfriend looked horrified and clearly wanted the ground to swallow her up. This didn’t put him off mind, as dropped his trousers to moon us all, then hopped to his missus’ table and slapped her right in the face with his ****. My wife announced at the end ‘Don’t worry folks, the guitarist is a GP and counselling is available’ as the girlfriend stormed out.

This was huge for me when I discovered it in the late 90s. Sort out of ‘oh dear, I might like some jazz.’ The whole thing is great but the opening track is ridiculously 70s super session player, beautifully played. If anyone knows who the bass player was I’d be delighted because I have looked it up many times. And the iconic sax playing of Tom Scott certainly helps.

Great link thank you.

I always thought you could get away with it, then I watched Scott Devine explain it as the difference between when a drummer does a 16 beat alternating sticks and when they 16 beat one handed. That kind of defeated any of my arguments and now I try and get through Darling Dear one fingered, bitterly!

Peculiar as it’s very hard to analyse exactly what’s going on and how it works. Unlike a good train beat or the groove to Night Train where it’s got a very calculable degree of swing (still very hard to pull mind) the Stones are so scruffy and skew whiff it shouldn’t work, but yet it does. Not everybodies cup of tea I know but it’s certainly special to me.

Anything by the Stones. That band’s groove is very peculiar.

Be really careful warming up. I had a similar issue at uni and when you’re playing everyday and surrounded by good players your perception of what a gentle, slow exercise is can be serverely warped. If you’re not already, limit how fast you go with a metronome or similar and aim for being as economical as possible.

Is this still a Noble product please? Can’t work it out!

Thanks for the tip with switch inside. Just tried it and the pop is gone. Got a power trio dep gig next weekend so will give the Soul Food another run out and see how it does.

That’s John Bollinger, noted Nashville multi instrumentalist and journalist. He comes across that way, but it’s his friendly way of not coming across as a know it all. Like I am, no doubt.

He’s really scaled back his pedal board- best thing about the interview is his introductory playing.

Think of it as the Picasso version of the Fender (as guitarist magazine once described it) Works for me!

A ‘I recommend my bass’ post, but I played a £3500 CS fender in Mansons, Exeter the other day and my LB100 knocked it into a cocked hat. The fender felt cumbersome and overweight whilst the G&L has that sound but is much more comfortable.

Got to be honest, underwhelmed by mine, not helped by the fact it makes a huge click when I turn it on. But it was a present from the wife so it stays on the board, unused and unloved.......